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I' 



THE TRUTH 

*s>« ABOUT— w » 

THE MOVIES 

BY THE STARS 



J^aurence <lA. Hughes 
Editor 



HOLLYWOOD PUBLISHERS, Inc. 

HOLLYWOOD, CALIF., U. S. A. 







This book has been printed and bound 


• 


in its entirety by 




The Los Angeles Lithograph Co., Inc. 




At Huntington Park, California 




Copyright 1924 by 




HOLLYWOOD PUBLISHERS, INC. 




HOLLYWOOD, CALIF. 









4 

©C1A 807240 



¥5 



T)edicatio?i 

*2 O all those who labor zvith soul and 
mind and body that the rest of us may 
find spiritual and emotional entertainment 
in the films — 

To all those who have given the fruits 
of their experience as represented by the 
articles in this book — 

To all those who co-operate to bring 
romance into our lives and who have here 
told us the "how" and the "why" — 

This book is lovingly and respectfully 
dedicated. 



¥5 



; ;■ • -J- 



5 



In ^Appreciation 



CJ^HE publication of "The Truth About 
the Movies" has been made possible 
only through the tremendously generous 
co-operation of the hundreds of contribu- 
tors to the symposiums which comprise this 
volume. The list of stars, producers, direc- 
tors, ivriters and other leaders of the mo- 
tion picture world who have collaborated 
on this volume, is too long to recount here, 
but to each and every one of them — as well 
as to the general helpful attitude of the 
entire industry — the publishers of "The 
Truth About the Movies" extend herewith 
grateful thanks for their concrete assist- 
ance, their enthusiasm, and their co-opera- 
tion. We owe especial gratitude to the 
members of the Wampas — more formally 
knoivn as The Western Motion Picture 
Advertisers — for their assistance in com- 
piling this volume. 

The Publishers. 



U^ote 

VEN in this comprehensive compilation 
about the movies, limitation of space 
and time prevent the inclusion of many 
important players, producers, directors, 
writers and others in the general personnel 
of the motion picture industry who may 
have had interesting contributions to add 
to this symposium. We regret these exist- 
ing limitations have deprived us of articles 
from these persons; but the publishers feel 
sure that the entire field has been covered 
more comprehensively than ever before and 
in an entirely adequate fashion. 

Furthermore, the publishers assume no 
liability for any omissions nor for any in- 
accuracies in the contents of this volume, 
since every effort has been made to secure 
and present herewith absolutely authentic 
information. 



7 



VIEWS OF HOLLYWOOD 
Srene from Pilerimape Play. 3. Mountain View in Hollywood. 

Residence ^D.tnct of Hollywood. 4. Another Mountam V.ew. 



8 



^5 



¥5 




LTHOUGH the actual publication of "The Truth About the 



Movies" has been made possible only through the phenome- 



nal co-operation of the hundreds of its contributors, this 
entire project is the concrete embodiment of an idealistic idea, 
conceived and executed by Laurence A. Hughes. 

For several years, Mr. Hughes had been associated with the 
motion picture industry in various capacities, when a matter 
of business took him to the offices of the Service Bureau. There 
he saw hundreds of extras, of both sexes and of every age 
and station in life, waiting for their pay-checks. 

His thought centered on the majority who would never rise 
above the ranks of extra players, because they had not that 
inborn Thespian talent or the physical qualifications for mo- 
tion picture acting, or even the understanding of the practical 
methods of furthering their own interests in the upward climb. 
Accompanying this reflection was the thought of the others 
all over the world who aspire to enter the motion picture field 
but who do not know how to determine their fitness or to bring 
this desire into force and effect. Immediately Mr. Hughes saw 
the great need and the wondrous power for good in a volume 
like "The Truth About the Movies." 

For three years he has worked in the different studios and 
other important centers in the business of making films, with 
twin purposes in mind: First, his determination was to secure 
definite information about every angle of the cinema world, so 
that he could honestly compile and edit the articles which go to 
make up this volume on the basis of his own experience. Sec- 
ondly, the desire to become intimately acquainted with those 
who would serve as contributors to "The Truth About the 
Movies," so that he could be sure that they would give him gen- 
uine, sincere and accurate informational material. 

In bringing to the public this work, which is the fruit of 
many years of general acquaintance and a three-year intimate 
study by Mr. Hughes, the publishers feel they are performing 
a real service to the millions upon millions of film fans through- 
out the world. Here is, in fact, "The Truth About the Movies." 




THE PUBLISHERS. 



9 




Edwin Bower Hesser 

LAURENCE A. HUGHES 



10 



^9 




N PRESENTING this book to the public, it is our utmost 
desire that it fulfill a purpose. Its purpose is — TRUTH, 
impartial and unbiased. For years, the public have 
shown an unselfish, enthusiastic interest in motion pic- 
tures, for which everyone in this industry feels that 
he or she owes an unselfish and enthusiastic return. Every- 
one in this industry has tried to give you that unselfish and 
enthusiastic return but, oftentimes, the literature concerning 
the motion picture industry has not exactly answered those 
vital questions which have sprung up in your mind. Oftentimes, 
you have felt that, with the meager information at hand, you 
cannot solve, to your own satisfaction, the interesting phases 
of a business in which you are vitally interested. You have felt 
that you are an outsider, groping in the dark, looking for knowl- 
edge and enlightenment on the subject of engaging in the motion 
picture profession. 

In view of this, we have enlisted the sympathetic counsel and 
advice of men and women in all branches of the industry, whose 
practical achievements and whose reputations have been beacon 
lights. They have only too willingly co-operated with us, grasp- 
ing at an opportunity to tell, in simple language, with open 
hearts and unbiased judgment, what their experience has been, 
how they, like you, have hoped and struggled and found in the 
end — success and justification of their ideals. 

After all, humanity rules and governs. It is the heart beat 
which strengthens and guides. Human sympathies and love are 
the things which make life worth living and these qualities, above 
all else, are paramount in a business which centers around all. 
Perhaps, day after day, you wish and hope for the time when 
you, like many others, may emerge from a narrow environment 
and make your way in the great, ambitious world which lies 
there, perhaps waiting for you. 

And yet, you may be one who has not been given the divine 
spark of expression. It may be that we can save you many a 
heartache and disappointment. 




11 



12 



THE TRUTH ABOUT THE MOVIES 



All these problems we have considered, humanly and sin- 
cerely. We have tried to lay open before you every detail, no 
matter how small, which will aid you, and we have considered 
every question humanly possible and had that question answered 
by a man or a woman who knows. We can do no more than this 
for you and we doubt if anyone has ever done as much. 

In this book, executives, famous in the motion picture in- 
dustry, have disclosed their inmost thoughts, that you may 
know. Actors and actresses, who have achieved the very thing 
you seek, have given you counsel and advice that is invaluable. 
Their lives, their homes, their thoughts, their feelings, their 
ambitions, their struggles, their triumphs, are here for you to 
read and think about and discover whether you, in turn, have 
the divine spark, the ambition and the determination, the beauty, 
the brains, which animated them. Before you, in rapid succes- 
sion, will march the greatest personalities in the greatest amuse- 
ment enterprise that the world has ever known. 

When you have finished reading this book, carefully and 
thoughtfully — as one must read it — you will know whether you 
have emotionalism, expression, ambition; in fact, it will dawn 
upon you, that you have the key to a treasure house of absolute 
and accurate knowledge about the motion picture industry, 
which will settle your problem, whatever that problem may be. 
You will realize that the men and women who have triumphed 
in this business, have laid bare their very hearts before you. 

They want you — the public — to realize their gratitude and 
their consideration for you. 

The editor and originator of this volume is placing the same 
at your disposal with a disinterested purpose in view. After all, 
any human purpose is high and disinterested. The artists who 
have sought to amuse and entertain you know the trials and 
tribulations of the numerous motion picture aspirants. The 
long trail to Hollywood has been watered by many tears and 
much suffering and mental anguish. And yet again, it has been 
illumined by the never dying spirit of Hope, that mysterious 
emotion which springs eternal in the human breast ! Each year, 
the pilgrimage to Hollywood will be augmented. 

All great artists are human. They want to help you. They 
want to lighten for you the darkness of that rocky pathway. 
They want to save you the heartaches and anguish which, in 
many cases, they have had. They want to show you how you 



THE TRUTH ABOUT THE MOVIES 



13 



can succeed. They want to tell you how to avoid wandering for 
weary months in the desert of lost Hope and lost Illusion. 

There is a way. The Truth is the way and, in this book, 
the torch of Truth has been held before you so that, in its 
searching light, you may examine yourself and see whether you 
are destined to become one of that galaxy of stars which have 
made and are making — motion picture history. 

In this book, you will learn how to tread a sure and certain 
road to Success — if you are qualified. You can then make no 
false steps. You will reach your goal quickly because you will 
have read and understood the counsel and advice of those who 
have walked it before you. In this book, you will also learn how 
to save yourself a bitter disappointment, if you are not quali- 
fied and not ALL are qualified. You will read the unbiased, im- 
partial truth, colored by no prejudices, no selfish motives, but 
actuated only by a desire to reach out a helping hand to those 
ambitious, self-reliant folk who desire to achieve success in one 
of the most fascinating pursuits. 




VIEWS OF HOLLYWOOD 
I'. I^M^l2«B«l S. Looting *fZ H„ lly wo„o B„o le v„d 



3. Hollywood homes 



14 



¥9 



What Is Hollywood 

TWENTY years ago Hollywood came into being as a regularly 
incorporated municipality. In that day the place was an 
obscure, country crossroad place in which ever crossroads 
were not prominent as features. 

But it was a community of 4,999 folk who entertained just 
pride in their main street, Hollywood Boulevard, and that pride 
caused them to enact a city ordinance prohibiting the driving 
of more than 5000 sheep in one band at any single time down 
the boulevard. 

That was about the first legal act of the initial city adminis- 
tration of Hollywood. And, by the same token, that was nearly 
the last enactment the council undertook for the municipality, 
for, soon after — but a few years — it was declared expedient that 
the city of Hollywood merge with Los Angeles in order that as 
a suburb it might enjoy the benefits of certain public utilities, 
principally the domestic water system, water being at that time 
a commodity need of which was the greatest problem confronting 
the local administration. 

And so it came about that eight years after incorporation, 
Hollywood shook off the shackles of administration and let 
metropolitan Los Angeles do those things that Hollywood had 
found difficulty in doing for itself. 

For some years Hollywood lived in peaceful, quiescent, pas- 
sive existence, doing nothing to attract nation-wide attention, or 
even state-wide consideration, except that it was the larger 
suburb of growing Los Angeles. 

Then came the motion picture industry, and Hollywood got 
on the map definitely and permanently. 

That was in 1910, when Biograph, with David Wark Griffith 
as director, came here. With the company were Mack Sennett, 
Arthur Johnson, Owen Moore, Mary Pickford, Florence Law- 
rence, Marjorie Favor and Lee Dougherty. Immediately follow- 
ing Biograph came the Horsleys, Essanay, Kalem, Thomas 
Ricketts, Milton Fahrney and Al Christie. 

That was the beginning of the motion picture industry, 
modest in a way, but primed with potential possibility. Today, 
built on the foundation laid by these pioneers, the motion picture 

15 



MOTION PICTURE STUDIOS 
1 Srrmlbere Studio 3. Metro Studio 5. Universal Studio 

I'. Thos! 5' Inoe Studio 4. United Studio 6. Hollywood Stud.o 



16 



THE TRUTH ABOUT THE MOVIES 



17 



industry of Hollywood is one of the four greatest industries of 
the world, and gives promise soon to be the leader of all. 

There are 50 or more motion picture studios in Hollywood 
operating companies which employ approximately 15,000 to 
30,000 persons, and having an annual payroll of $50,000,000. 
In the year just closed the industry expended $20,000,000 on 
material, and in total films produced spent $156,000,000. In the 
present year that great total, according to official advices, will 
be far greater. 

That is the Hollywood of yesteryear. 

The Hollywood of today is a different Hollywood. 

Hollywood today holds a unique and anomalous position in 
the sight of the world. It has been referred to as the "Sodom 
of the Twentieth Century" and the "Paris of America," yet it is 
the home of two great non-profit, artistic community enterprises 
that distinguish it from any other community in America. 
These are the Hollywood Bowl, wherein thousands each night 
hear the glorious "Symphony 'Neath the Stars" in the summer 
bowl concerts, and the Pilgrimage Play, Life of Christ, because 
of which latter it has been rightly termed the "Oberamergau of 
America." Hollywood has 40 civic and improvement associa- 
tions, all of which labor assiduously for the betterment of the 
community generally, and it has 14 grammar and high schools, 
with two other school buildings in construction, and it has 50 
churches of various denominations and creeds. Because of the 
latter its citizenry refers to Hollywood as the "City of Churches." 

Within its walls are the great Hollywood Community Chorus, 
composed of more than 1000 home vocalists, who once each week 
gather in the high school auditorium to sing old and new classics 
under the direction of Hugo Kirchhofer, and under the adminis- 
tration of Mrs. J. J. Carter, one of the most enthusiastic and 
widely known workers for higher things in art in Hollywood. 

Five years ago Hollywood had a population of between 35,000 
and 40,000. Today the Hollywood Chamber of Commerce esti- 
mates that population at 100,000, while super-enthusiasts boost 
the total considerably higher. 

Hollywood, in brief, is a home place and, to the present time, 
has taken no drastic step toward industralization, but continues 
the residence center of the Southland. 





18 



^9 



What Future Has Hollywood as a Moving- 
Picture Producing Center 

TOLLYWOOD, as far as I can see, will always be the home 



decide whether pictures can be made in other parts of the United 
States and abroad as effectively from a financial standpoint as 
well as from an artistic standpoint. My answer is "No." 

The much mooted question, "Will New York or Hollywood be 
supreme for movie production?" has been settled as far as I am 
concerned and my experiences are similar to those voiced by 
others. New York is too big for motion picture producing. 

Just as automobiles can be manufactured easier and better in 
Detroit, than in any other place. Just as shoes can best be made 
in Lowell, so can motion pictures best be made in Hollywood. 

Speaking from a business standpoint, Hollywood is more effi- 
cient for us. New York — and when I say New York I mean 
every other city — is entirely unadaptable to our purpose. 

In Hollywood the community understands this. It does not 
expect anyone in the industry that has made it famous to do 
things as any other business man would. 

If you want a thousand people in Hollywood you can depend 
on getting them and also know that they will report punctually 
on location. In New York the weather is always an uncertainty 
and often it is necessary to wait until the very morning of the 
day's work before ordering the crowd to report. If they are 
instructed to appear the day before, it generally happens that the 
weather changes and the conditions are such that they have to be 
sent away, the producer paying salary and expenses. 

It took years to establish the subsidiary industries and facili- 
ties important to motion picture production in Hollywood. It 
would take years to do the same in any other community. There 
is no reason why the business should go through all this pioneer- 
ing again nor is there any time for it. Hence, Hollywood will 
always remain the film producing center of the country. 




of the motion picture producing industry. 

It has been my pleasure to experiment and definitely 



19 





FAMOUS MOTION PICTURE PRODUCERS 

1. Emory Johnson 3. Al Christie S. Edw. Carew 

2. Thos. H. Ince 4. Carl Laemmle 6. J. H. McDonald 



20 



¥5 



^9 



Looking Backward and Forward 

OR twenty years some speaker at every motion picture 



oratorical occasion has unfailingly referred to our art as 



"the infant industry." Twenty years hence they will be 
doing the same thing, and it will be just as true then as it is 
now. Both as an art and as an industry, motion pictures are 
in their infancy. Therein lies the only excuse for their short- 
comings of the past and the best promise for the future. 

Looking back almost a quarter of a century as I can do in 
this art, one fails to see any art in it, even through the lens of a 
microscope soft-focused by time. 

Figures do not lie, but they frequently bore, so I shall avoid 
all statistics and merely touch on the aspects of the art's de- 
velopment by which its progress may be judged. From the 
angles of acting, stories, direction, settings, lighting and pho- 
tography, the present day motion picture is as superior to our 
early efforts as the radio is to the tom-tom signals of the Congo 
savages. 

What does the future hold for us of the motion picture in- 
dustry? Colored films, stereoscopic pictures and synchronized 
music are now only "stunts" ; a gesture of versatility, as it were. 
There is no doubt that they can be achieved. But when we have 
them, will the essentials of the picture art be improved or 
broadened? I doubt it. Perhaps our grandchildren may see 
"radio-movies"; who knows? So much has happened in twenty 
years in this business which no man then could have foretold 
that he is a fool who tries to set limits to its future possibilities. 





21 




FAMOUS MOTION PICTURE PRODUCERS 

1. John M. Stahl 3. T. H. McGuire (actor) 5. Hal E. Roach 

2. Jesse L. Lasky 4. Sol Lessor 6. L. S. Ramsdell 



22 



^9 



^5 



What Is the Motion Picture Outlook for 1925 



OR the first time in the history of the silent drama, a con- 



structive and logical viewpoint can be made insofar as the 



future of the pictures are concerned. 
The reason this has not been possible in the past, is due to the 
great extent, in producers not fully realizing what the great 
masses comprising the patrons of the thousands of theatres, 
wanted in the form of film entertainment. 

Gradually, however, the motion picture minds have "sensed" 
the demands, likes, and dislikes of the public, and these must be 
adhered to, for in the final consensus it is the public, first and 
foremost, who must be satisfied. 

There is always a demand for big, spectacular productions 
such as those given the screens of the world by Fairbanks, Grif- 
fith and others. But there cannot be too many of these "super- 
productions." First, they involve tremendous financial obliga- 
tions — money that takes years to get back ; second, the public does 
not want "turkey" for every meal. 

I think that the motion picture industry — third greatest in 
the land — is now on a firm business basis. The solution of bring- 
ing the picture business on a business plane has been solved and 
unless this was done, nothing in the form of a definite program 
could ever be expected to be made in the motion picture world. 

There is no reason why the motion picture business cannot 
be conducted in the same manner as a banking institution, steel 
works or cafeteria. Business ethics are first and foremost and 
today, in the silent drama, I feel safe in stating, we have some 
of the greatest minds in the world in the form of leaders and 
executives. 

The fact that new and beautiful theatres, costing many thou- 
sands of dollars are being erected in every part of the land, is 
one firm reason for realizing the definite future of the picture 
industry. The theatre organization of which I am vice-president 
now operates over a hundred and twenty-five theatres and dur- 
ing the year 1925, some twenty more will be erected in Southern 
California alone. 

American people demand picture entertainment. It is the 
popular pastime of the age and will continue being such. The 




23 





FAMOUS MOTION PICTURE DIRECTORS 

1. Maurice Tourneur 3. Rupert Julian 5. Rex Ingram 

2. Sidney Franklin 4. Cecil B. De Mille 6. Edw. Laemmle 



24 



THE TRUTH ABOUT THE MOVIES 



25 



West Coast Theatres, Incorporated, collected over $10,000,000 
through their box offices last year, and it is estimated that over 
25,000,000 persons paid admittance to see the silent drama offer- 
ings their screens exhibited. And this goes for Southern Cali- 
fornia only. 

The day of the regular program picture is over. The public 
is educated. Like the grammar school boy, after arithmetic 
problems are solved, next in line is algebra and so on. There 
is a widespread demand for the uplift of pictures. This has been 
accomplished. The day of immoral picture subjects is over. 
Clean, wholesome pictures are now being made and shown 
throughout the country — pictures that mothers, daughters, 
sweethearts, children — everyone can witness and leave the 
theatre without a blush. 

The year 1925 will probably be the biggest year financially 
and artistically the motion picture industry has yet experienced. 
Huge film corporations have been formed — some of the biggest 
have locked arms in the endeavor to create big products for the 
future. No expense is being spared in giving the public what 
it desires and on the other hand, sound business principles are 
maintained that will eliminate all waste of money and time in the 
film plants. 

Never before has the motion picture industry been resting on 
so firm a foundation and this foundation will be fortified as the 
months come and go. Good stories — stories adapted from well 
known books — stories the world has learned to love, will be in 
demand this year. Our company, as an example, will film all of 
the Harold Bell Wright stories, and we are searching all corners 
for suitable juvenile stories in which Baby Peggy will star. 

Thousands of people will find employment in the film plants 
during 1925. Reports indicate that between 25,000 and 40,000 
people will be active in Los Angeles and Hollywood alone. 

Yes, 1925 will be a successful year in filmdom. So will 1926 
and years to come, for the motion picture is now part and parcel 
of the life of the American family. It will not suffer. It will 
never lag. It cannot. It is here to stay and as the months 
move along, bigger and greater achievements will constantly 
be made. 





26 



^9 ^9 



Hollywood the Producing Centre 

THE motion picture industry is as important a part of 
Hollywood as are the steel mills to Pennsylvania. For 
the camera's dependence on the sun makes the talk futile 
of moving the studios even towards the sea coast beyond Holly- 
wood, where the fog would shorten the day's work to four 
o'clock. 

Then we must remember motion picture people have estab- 
lished their homes here, are rearing families, and expect to live 
to a ripe old age in Hollywood. These are not to be lightly 
moved away. 

Los Angeles should be loathe to see us go, even if such were 
our mind. For of the 200,000 people who have come to reside 
here permanently during the last year, it would be fair to hazard 
that a large percentage were first attracted to this semi-tropical 
paradise by seeing its charms in a motion picture. 

My own desire to come here was born, when as a small boy, 
I sat in the old nickleodeon and saw the magnificent palm trees 
of Southern California. There, I said to myself, I would go 
when I grew up. 

The motion picture is a press agent for Los Angeles that works 
for it all around the world. 

Hollywood has now become a unique city, attracting artists, 
poets, writers, from all over the world, and they are here to stay. 
The movies, of course, are the magnet for them. But they have 
created a place that has an atmosphere all its own. Here a 
man without a collar can walk with his head up, the same as 
anyone else. Caste is gone. This freedom and individuality, 
together with a Bohemian atmosphere, makes an ideal spot for 
creative art. 

The credit for this change is due to the men and women in the 
picture colony who have children. A child acts on a man as a 
governor to a machine. It steadies and controls him. These 
parents wanted their children to have a pure atmosphere and so 
the old sinful Hollywood is a thing of the past. 



27 





FAMOUS MOTION PICTURE PRODUCERS 

1. George Fitzmaurice 3. King Baggot 5. Frank Lloyd 

2. Rupert Hughes 4. Tom Forman 6. Ed Sedgwick 



28 




The Future of Motion Pictures 

PROPHETS have one great advantage over other people. 
Provided they deal with a future which is sufficiently 
remote, no one can dispute their prophecies. The technique 
of motion picture production changes so rapidly it is difficult to 
keep abreast and it is infinitely more difficult to foresee accurately 
the changes of next month or next year. 

A little over a decade ago, there were many leaders in the 
world of entertainment who declared the motion picture had no 
future. There still are many people who never go to see a motion 
picture and there are some who think it is a passing phase of 
modern life. They hold these views in the face of facts which 
are staggering. 

I believe the motion picture is destined to grow to propor- 
tions of which we do not dream at present. Every great inven- 
tion, once it has proven its practical nature, continues to grow 
in usefulness. Electricity, once used for two or three purposes 
such as the telephone or the telegraph, serves mankind in new 
ways every year. 

I believe the motion picture will find new ways to serve hu- 
manity every year. The schoolroom, the medical clinic, govern- 
ment and private research departments, factories, salesmen and 
many other industries make use of the film. 

The forms of entertainment which the motion picture as- 
sumes will be governed in the future, as now, by the popular 
taste. In this respect, the film will travel through cycles in each 
of which different types of story will be in vogue. 

Every year sees new inventions, new methods of lighting 
and new photographic ideas in use. Effects which were impos- 
sible five years ago are now achieved with ease. 

In fifteen years, the motion picture has achieved the fourth 
position in American industrialism. It may go higher, but it 
will never wane. 

A future without the motion picture film in one form or an- 



other is inconceivable. 





FAMOUS MOTION PICTURE DIRECTORS 

1. Victor Schertzinger 3. Albert Austin 5. Victor Seastrom 

2. Robert Leonard 4. George Melford 6. Fred Niblo 



30 



¥9 



What About the Morals of Hollywood 

'ITH dripping pen and scarlet invective, Hollywood has 



been placed, like a pillar of flame, upon a mountain of 



wickedness, that the world may gasp and wonder. 
Nowadays, when a tourist enters "wicked Hollywood," he treads 
lightly and looks about him, dreading and fearing that, upon 
each street corner, his hard earned Virtue and his unquestioned 
Morality, might be assailed. For he knows he is in the seething 
maelstrom of unmentionable Vice. All the way out on the train, 
his heart has been palpitating, because of the leering faces, the 
suggestive looks, the wickeder words which one is supposed to 
see and hear in Hollywood. In fact, the sightseer is doubtful 
whether he should enter the portals of this teeming Capital of 
Wickedness, this scarlet Paris of the West. His favorite moral- 
ist, writing with inspired pen, has told him that danger lurks 
amidst the sighing palms, that, inside each bungalow, strange 
and unmentionable orgies are conducted which would shame the 
feasts of the ancient Roman and Egyptian sybarites. He has 
been informed that the flaring lights of Hollywood Boulevard 
is the illumination which beckons the innocent to destruction 
and tries the hard earned morality of the fathers of families. 

Of course, the pamphleteers and inspired guides of moral 
effort in our wonderful land here, have taken, as exponents of 
vice, the men and women who give their lives to you on the 
screen. At night, after a hard day's work when they have 
sweat and labored in the heat of Summer under burning and 
exhausting lights that would, probably, drive the reader insane 
in one day, they are supposed to come home, fresh and vigorous 
with their hearts and souls bursting with new and erotic ideas 
whereby Hollywood can be made still more wicked. Far into 
the stretches of the perfumed night, they invent and practice 
new and strange forms of wickedness. Their lives, their hopes 
and aspirations are given, in martyrlike fashion, to the corrup- 
tion and perversion of a world. The next day, fresh and still 
vigorous, they report to the studio and go through their labors 
— for you. 




31 



32 



THE TRUTH ABOUT THE MOVIES 



Can you imagine the agony inflicted upon an artist, a sensi- 
tive man and woman, at the false and utterly untrue and filthy 
literature which has been written concerning them, literature 
in which their ambitions, their loves and their lives, have been 
rendered foul and dripping with slime and dirty with rotten 
mud thrown by writers who have utterly failed to "take the 
beam out of their own eye." Can you imagine the hurt feelings, 
the regrets, that this profession of hard working, hopeful and 
ambitious men and women, have felt that, when some isolated 
and disgraceful affair has happened, with which they have 
been, untruly and maliciously, connected. Can you imagine the 
injustice which has been perpetrated when this profession has 
been held up to the world as one in which lust, debauchery and 
licentiousness, dirt and filth, predominate. I doubt whether 
you can. 

Can you imagine that men and women who daily and hourly 
enact before your eyes, immortal loves and faiths, the beauty 
and harmony of life itself, do not understand the meaning of 
Love and faith and friendship and truth. Can you imagine that 
educated men and women who have given their lives to this pro- 
fession do not understand the meaning of the sacrament of mar- 
riage. Do you think that the very girl whom you love upon 
the screen may not have a baby tucked away in some beautiful 
little bungalow, a baby that is part of herself, a thing that she 
loves and worships and works for. Do you think that there are 
no fathers and mothers in Hollywood who daily and hourly 
watch the efforts of their children in the studios as they strive 
and struggle to make a career. Do you think that, in Holly- 
wood, there are no Churches where Christ and his gospel are 
preached. Do you understand the meaning of that great phil- 
osopher and teacher who trod the pathways of Palestine many 
years ago, when he said "He that is without sin among you, let 
him first cast a stone." Do you understand that each and every 
human being has faults and that it would behoove those small 
town moralists, before they dip their slimy pens in scarlet muck, 
to take the beams out of their own eyes before trying to take 
the mote out of the eye of the world. 

Where is the faith, the manhood, the womanhood, the true 
understanding of the morality of Jesus Christ, of those who 
have elected, falsely, maliciously, venemously, to slander and 
agonize and take away the reputations of men and women of 



THE TRUTH ABOUT THE MOVIES 



33 



decency and morality — true morality — broad minded and cos- 
mopolitan morality — the morality that loves and tolerates and 
understands human weakness. In their hearts, where is that 
Love which Christ preached and which they profess to be 
exponents of. 

I call your attention to the fact that wealthy men, sur- 
feited, perhaps, with the vices of the old world, come here to 
offer money temptations to girls who have felt the pang of 
starvation. They come from the lay walks of life. They are 
prepared to buy, with their oftentimes dishonestly acquired 
money, Virtue, Faith and Hope. They are not of this profes- 
sion. They are of no particular profession, save the profession 
at. which so many are working, the profession that teaches one 
how to familiarize himself with the ethical principles that lead 
to Hell. Is Hollywood to blame for the lives of these roues and 
connoiseurs of human flesh. 

Are one or two isolated instances to be taken as a beacon 
light to the morality of a colony of men and women, whose 
principles and whose lives are above reproach. Do you think 
that, in Hollywood there are none other living but picture people. 
Because some tramp who commits a crime informs the news- 
papers that he or she is an "actor" or "actress," do you believe 
it. Because some girl, who had no chance in the business at any 
time, is willing to sell herself for as much as she is worth and 
then weep on the public bosom in an effort to get publicity, is 
this an indication that the men who conduct this business are 
wolves, fattening on the blood of innocence. Because some 
drunken millionaire is shot at a party where there was a motion 
picture actress, is this her fault. 

It is time that Hollywood, the beautiful, the city of Churches, 
the city of ambitious and artistic effort, the gateway of Hope 
and realized success, should receive that courteous and patient 
and human consideration which Hollywood has given to the 
world. It is time that some courageous soul should sharpen up 
his pencil and scrape a little of the slimy, scarlet muck off the 
fair surface of the most beautiful city on earth. 

De Courcey Forbes 



MARION FAIRFAX 



34 



U 



Our Industry 



HEN asked to write an article on "Our Industry" I feel 



inclined to be original enough to say some nice things 



about it — everyone else seems to find it so easy to criti- 
cize. I think it's become a habit. 

Take the publishing business, for instance. Any great pub- 
lishing concern turns out more mediocre than great books, and 
more downright poor ones than mediocre, but do the publishers, 
critics, employees and citizens at large all rush into print de- 
manding, "What is the matter with the publishing business?" 
They do not — it simply isn't done. Everybody rejoices over the 
one great book a year, kills time with the ordinary output, pitches 
the drivel into the fire — and lets it go at that. But when Mr. 
Public lays out his quarter or half-dollar on a picture and finds 
he's drawn a blank he calls meetings, he writes editorials, he 
forms committees, he writes letters to his congressman — he even 
goes to the length — and it's generally a great length — of writing 
a picture himself and sending it in to some long-suffering studio 
editor just to show him how to do it. 

Another point, if some ex-typesetter connected with Harpers 
or The Century or Good Housekeeping gets a divorce, do the 
papers headline it, "Prominent Member of Great Publishing 
House Divorced?" Do the public rise en masse and say they 
will not read any of the tainted type his fingers have touched? 
Do conscientious people band together and pledge themselves to 
subscribe to only those magazines in which no story written by a 
divorcee is ever allowed to appear? But let some extra girl, who 
left off washing dishes long enough to appear as atmosphere 
in a Griffith film five years ago, go through the divorce mill and 
the fact will be heralded from coast to coast that another "Movie 
Star" has gone onto the matrimonial rocks. Really, "our in- 
dustry" might well feel flattered — if it weren't such bad business ! 

And then we have another odd habit — almost a fad — of be- 
wailing the awful business judgment displayed by the leaders of 
"our industry." The leaders themselves make the most aston- 
ishingly humble confessions of their "extravagance" and volun- 
tarily promise to do better in the future. And yet, under their 
guidance, the making of moving pictures is ranked as the fourth 




35 



36 



THE TRUTH ABOUT THE MOVIES 



industry in our country. The only conclusion to be drawn is 
that the members of the industry and the public at large will 
never rest content until some super-Zukor, super-Rowland, super- 
Griffith, super-Fox, super-Laemmle, super-Ince or super-Goldwyn 
make it a greater industry than steel, automobiles, railroads and 
oil combined. And it wouldn't surprise me if this is exactly 
what will happen. 

There must be something miraculously vital in an art that 
has not only survived but thriven on such whole-hearted criti- 
cism from without its own ranks and deceptive propaganda from 
within them. 

When it comes to pictures I think we are all — picture makers 
and picture consumers alike — a little like Ireland. We don't 
know just what we want : — but we'll never be happy till we get it. 



Why Motion Pictures Reach Greater Artistic 
Heights Than the Stage 

THEN motion pictures first became a commercial possibil- 



ity in length longer than two reels, the leaders of the 



industry naturally turned to the stage to recruit their 
actors, directors and technicians. The first motion picture of 
feature length was really a motion picture of stage plays. Their 
interiors were identical to those used on the stage. The added 
advantage was in being able to show what went on behind the 
scenes, which, on the stage, was explained by the spoken word. 
Particularly were they able to photograph their exteriors in the 
actual settings in which the plot was laid. This added the 
element of realism. 

The settings used on the stage at that time were not very 
different from those used today. In other words, the stage has 
not made very great strides in the direction of realism. In com- 
parison with the strides made by motion pictures, it has prac- 
tically stood still. 

Nowadays, when we have the opportunity to see some of the 
pictures made long ago, it is a source of great merriment. To 
think that wh^n the villian came blustering into the room 
covered with paper snow and slammed the door, the entire scene 





THE TRUTH ABOUT THE MOVIES 



37 



would rock back and forth, is amusing. If the pictures were 
not painted on the walls they might fall off or assume weird 
angles. In one of the older pictures, I remember a bit of realism 
injected by using the limb of a tree projected through a back 
drop on which was painted a tree. When the scene was photo- 
graphed, the man holding the limb of the tree would sway it 
back and forth. Today, those in the motion picture business 
look at such things in amazement. They have progressed tre- 
mendously toward greater realism and they have only begun. 

Before I returned West to begin production on a new 
picture I had the opportunity to visit the principal cur- 
rent stage attractions in New York. The one thing that im- 
pressed me most was their lack of progress in settings. It seems 
unbelievable that, in this day and age, we should still see framed 
pictures painted on the back drop. Yes, and even windows, doors 
and furniture treated in the same manner. Paper snow and rain 
that looked as if it were being poured from a sprinkling can by a 
stage hand. Food cooked on the stove heated by red electric 
lights and no steam coming from the pots on the stove. Prop- 
erty food and water in the tea and coffee pots, are only some of 
the things I might mention. In one scene, the setting shook 
as if it were about to fall down when the door was closed a bit 
more vigorously than planned. It reminded me of the first 
motion pictures. 

These are minor details but they keep the audience reminded 
that they are watching an unreal performance If we should 
attempt to do such things in motion pictures today, we would 
never hear the end of it. 

The motion picture industry from the prop man to the star is 
constantly working to improve itself. The theatre has been con- 
tent to rest where it was ten years ago. 

The result is that motion pictures have reached greater artis- 
tic heights than the stage and will continue on — years in advance 
of the stage. 





FAMOUS MOTION PICTURE DIRECTORS 
Ernest Lubitsch Harry Beaumont 

Albert Rogell William Beaudine 



3 8 



^5 



^5 



The Supremacy of American Made Movies 

"^HE question of American supremacy in screen produc- 



tion is one which has received considerable agitation. Aa 



a nation, we are prone to deny, very emphatically, that 
Europeans will ever equal us as screen producers. Up to this 
writing, our contention is, unquestionably, correct. The question 
of screen equality is not one which has to do with international- 
ism. It is a question which embraces the ultimate and best 
evolution of the motion picture. Europeans, through centuries 
of culture and study, have evolved a literature, a science and an 
art, which has been and will be the standard of the world for 
some years to come. The genius of literature, the highest form 
of subtle expression, has found its greatest exponents in Europe ; 
therefore, it would be ill timed to say that Europeans will not 
reach a certain unquestioned excellency of expression and of 
art in the motion picture. Europeans can point to a Dickens, a 
Hugo, an Ibsen, a Dante, a Shakespeare, men who have caught 
the expression of a world and immortalized it. Therefore, since 
deep thinking students and scholars of Europe have given serious 
consideration to the motion picture as a mode of dramatic expres- 
sion, it is safe to assume that progress will be made. 

The question of American supremacy in production is not 
one of equipment, technicality, technique or natural beauty. 
Europeans can buy equipment. Their scenic beauty is, in some 
instances, beyond comparison. They can build magnificent 
studios and, in some cases, have done so. Technique is easily 
assimilated by intelligent men and Europeans, as a rule, are ex- 
tremely intelligent. Their environment and education makes 
them so. In many instances, European directors have come to 
America and made distinguished successes. And yet, no Eu- 
ropean nation has ever made a conspicuously successful bid for 
the world markets. Italy has come the closest to doing so, but 
even Italy, with her equipment, her artists, her natural beauty 
and her cities — which the world goes to see — has made a failure. 

America is the world market and, therefore, the American 
producer caters to his own market and needs none other for the 
success of his enterprise. With the greatest ease and facility, 




39 



FAMOUS MOTION PICTURE DIRECTORS 
I K\r,cr V\Anr 4. Stuart Paton 

2. William De Mille 5 Dimitri Buchowetzki 

3. Reginald Barker 6. Paul Iribe 



40 



THE TRUTH ABOUT THE MOVIES 



he can Americanize a European story, take no account of criticism 
of his inaccuracies and please a world market — in America. It 
is difficult for the European producer to understand that, while 
Americans are greatly interested in European natural beauty, 
they are not nearly so much interested in European peoples. 
This does not imply that Europeans are not, fundamentally, in- 
teresting people. It means that the nationalism of Europe ana 
America are widely separated things which only personal con- 
tact will make thoroughly understood. 

European producers are sticklers for historical accuracy. 
They love the great men of Europe who helped to write the his- 
tory of a world. To the European, their lives and achievements 
are immortal and change would be a sacrilege. The American 
producer takes into account only the interest attaching to these 
characters and he revises them for motion picture purposes. The 
difference between the viewpoints is a matter of education, 
judgment and nationalism. 

If the American producer were under the necessity of invading 
Europe to achieve a world market, the result might be different, 
but, always, the European producer will rest under the handi- 
cap of invading America, a country whose nationalism is very 
difficult for a European to understand. He must become Amer- 
icanized, to a certain extent, and, at the same time, retain his 
own individuality, an extremely difficult task. And yet, in 
several instances, this task has been accomplished with conspic- 
uous success. In all probability, the European producer will, 
some day, be able so to combine his own nationalism and that of 
America, in a form of dramatic interpretation and expression, 
which will do more to bring about universal brotherhood than 
any single agency in the world's history. This, I believe to be, 
a most desirable aim and object. 

Someone has said, "The play's the thing," and this will al- 
ways remain essentially true. Therefore, the European producer 
has another difficult task in understanding the type of story which 
pleases America, because it is so essentially different from his 
own. American people love humor and, in the sense that we 
understand it, humor is unknown on the Continent of Europe. 
There is a good deal of tragedy in America, but the American 
loves to see, on his screen, life, laughter and the happy ending. 
The Continental insists upon portraying life's realism. Often- 
times, he adheres to sombre and morbid shades of life which, 
unquestionably, are a part of life's emotionalism, while the Amer- 



FAMOUS MOTION PICTURE DIRECTORS 

1. James Cruze 3. Harry Pollard 5. Wallace Worsley 

2. George Archinbaud 4. Charles Brabin 6. Herbert Brenon 



42 



THE TRUTH ABOUT THE MOVIES 



43 



ican, duly appreciating realism, would rather see the more dras- 
tic shades of life softened. This, also, is a matter of nationalism 
and, in all probability, life and its realism are best toned down. 

In analyzing the differences between American and European 
pictures, one must speak of the performer. The foreign artist 
is also making a successful bid for participation in the artistic 
rewards of the world's market. In many cases, they have made 
successes as conspicuous as those of the European director. 
The American performer has, unquestionably, a flexibility which 
is undeniable and, in all probability, it will be some time yet be- 
fore the more solidly nationalized European can approximate this 
flexibility. The American's portrayal of foreign roles is suffi- 
ciently true and accurate to please his world's market in — Amer- 
ica. If one has seen the American artist portraying an English- 
man and the English artist portraying an American, one can, 
more readily, understand the American's dramatic flexibility 
which, in the final analysis, is also a question of nationalism. 

It is too early, as yet, to prophesy concerning the ultimate 
reception of the European made picture in the markets of the 
world. It remains to be seen whether the European can so 
alter his dramatic trend as to interpret his own nationality to 
the American people in a way which they can understand and 
become interested in. Certainly, as I have said, the failure is 
not due to mechanics but to those finer undercurrents of por- 
trayal, life, manners and customs. 

The European producer is making determined efforts to over- 
come many difficult obstacles. His progress has been marked. 
He brings to us much of studiousness, thought and ambition. 
He is becoming a pivot in the evolution of the motion picture 
and he is so combining his own nationalism and that of the coun- 
try he has adopted as to afford a very fine idea of what may 
transpire not so far hence. 




What About Censorship 

Little Jack Horner 

Sat in a corner 

Eating his Christmas pie. 

He put in his thumb 

And pulled out a plum 

And said, "What a good boy am I." 

THIS touching little poem accurately describes the modus 
operandi of the motion picture censor — only it is your pie, 
fellow citizens, that Jack is eating and the plums he ex- 
tracts are frequently the best human touches of the world's 
greatest authors. 

And not content with pulling the plums, he has legal power to 
subsitute a lemon, so that by the time you get your pie, its 
taste has been badly changed. But don't blame the cook — blame 
Jack Horner and his thumb. 

Censorship has the same beneficial effect upon the taste and 
morals of a community as the Spanish Inquisition had upon 
religion — it guarantees that a few shall think for the many — it 
tortures into submission or death every film which does not con- 
form to the censor's creed. 

An interesting thing about various laws laid down by cen- 
sorship boards is that they completely ignore the laws of com- 
mon sense. What could be more absurd than to classify a scene 
as indecent if played between a man and a woman who are un- 
married and yet consider the same scene perfectly decent if they 
are married? 

Indecency is indecency — even between married folk. From 
my own point of view, it is more unmoral for a man to attack 
his wife than to attack a perfect stranger. But, of course, I'm 
not a censor. 

For years I have been striving to make my work good enough 
to please the American public. I have worked long and hard to 
improve my art, perfect my taste and deepen my understanding 
of human nature. I try to put the best of which I am capable into 
every picture I make, and to choose only such stories as I deem 
worthy enough and interesting enough to set before American 
audiences. 

44 



THE TRUTH ABOUT THE MOVIES 



4S 



But I find that it is no longer my privilege to have the jury of 
a great public pass upon my work. It must first be taken into 
a corner by little Jack Horner and made to conform to a stand- 
ard of taste very different from my own. 

How can the American people expect the art of telling a story 
on the screen to improve and develop better taste if the artist 
is prevented from using his own methods of expression? 

Could Wagner have developed his genius if his work had first 
to be edited by a Sunday school organist and changed to fit what 
the organist considered correct musical style? 

I have read with amazement the frank confession of one of the 
Pennsylvania state censors in a book recently written by him. In 
it the author calmly claims the right to make any changes he 
sees fit to make in my work before I may show it to the people 
for whom I made it and who should have the right to hear all 
I have to say and judge me for themselves. 

The book is dedicated to a woman whom the author describes 
as "my comrade in arms," but I have doubts that he would al- 
low me to use those words in introducing a character upon the 
screen. 

The author describes himself by saying : "I am not conscious 
of holding moral opinions which are very different from those of 
men of my class." 

But suppose I want to appeal to people who are not of his 
class? Is there any moral justice in compelling me to waste a 
somewhat difficultly acquired education by making my work con- 
form to the rigid standards of a small group when I believe that 
millions of my fellow countrymen would delight in going with me 
into lines of delicate humor which the censors might not approve, 
beautiful romance in which the laws of the human heart are not 
entirely based upon those of Pennsylvania? Must I show An- 
thony married to Cleopatra ? Must I omit the last scenes of the 
Walkyrie because they speak of Siegfried before he is born? 
Must I cut the "conspirators' scene" in "Julius Caesar" to "two 
short flashes of three feet each" and substitute the title — "Some- 
thing was afoot that night"? 

For these instances are not exaggerated and, in their cease- 
less fight to limit the motion picture to the mental limits of a 
young child, crimes against art are committed so gross as to be 
themselves immoral. 

To quote once more from the censor-author's quaint English ; 
"Shall child ask us the meaning of this or that scene after we 



„ Melbourne Sp 

ELINOR GLYN 



46 



THE TRUTH ABOUT THE MOVIES 



47 



return from a picture house?" Is it any worse for "child" to 
miss the meaning of a scene before it is censored than for adults 
to miss its meaning as changed by censorship? And, on the 
other hand, from using this great medium of expression to 
speak adult thoughts to an adult audience? Would it not be 
better to impose some small degree of responsibility upon 
"child's" parents than to insist that the future of the screen be 
limited to juvenile subjects? 

You ask us "movie people" to give you bigger, better, finer 
pictures and, at the same time, limit our possibilities by putting 
control of the whole development of the art into the hands of a 
group who have inherited the opinions of the Dark Ages; who 
cannot distinguish between morality and legality; who bar the 
door to new thought; who, under their own rules would censor 
at least three-fourths of the classic literature of the world and 
much of the Bible itself; a group who stand for the most auto- 
cratic, un-American principle which has ever been legalized in 
the United States — the principle that their personal tastes shall 
absolutely control the output of an art which reaches many times 
more people than any other art. 

Enact what laws you will and we of the screen will obey them, 
but censorship is not law — it is a despotism of the political of- 
fice holder over the artist; it is a preventative to art; it is an 
attempt to impose the taste of one man or woman upon every- 
thing you may see on the screen. It is un-American in principle 
and inartistic in practice ; it is the cause of much of the bad con- 
tinuity you see and many of the ultra-idiotic titles. 





DOUGLAS FAIRBANKS— MARY PICKFORD 



48 



¥9 



^9 



Advice to Young- Screen Aspirants 

HEN it comes to advising those who think they want 



to go into screen work, it is difficult to know just what to 



* f say, because it is not my wish to discourage any real 
talent — and yet I would not for the world be the cause of bring- 
ing one girl to Hollywood under any misapprehension concern- 
ing success easily won. 

Of course, it goes without saying that one must have talent 
in order to pursue any line of creative work. So it is obvious 
that girls who think they want to act for the screen must have 
talent if they hope to climb. To be just pretty does not really 
mean much. Talent, or what is usually termed personality, is 
the thing that counts — that and a huge capacity for work along 
with a curtailment of pleasures. 

Screen aspirants should not decide they have acting ability, 
or that they photograph well, simply upon the say-so of members 
of their families and well-meaning friends. 

It is, of course, not always possible to get the opinion of a 
well qualified professional critic in one's home town, and this 
makes it necessary in many cases for the ambitious person to 
depend largely upon his or her own opinion regarding ability. 
If a girl is certain she can act and also photographs well, then, 
with some wherewithal to draw upon for expenses, it is in many 
cases worth while for her to attempt pictures. However, there 
are no rosy pathways which lead to permanent success. I am 
not trying to discourage any worthy young lady's plans — only 
attempting to set down a few simple truths concerning a ques- 
tion upon which thousands of words could be written. There 
are apparently chances for and against success in any line of 
work or in any profession. But it appears to me from my own 
experience and from what I know of the ups and downs of others, 
that even with ability and an unusual amount of ambition, per- 
severance and sacrifice, the chances are one in a thousand of a 
beginner becoming a high-salaried motion picture player or 
director. 





49 



JOHN BARRYMORE 



50 



$8 



^9 



Health Plus Enthusiasm 



NE of the best things in this little old world is enthusiasm. 



All children have it, but when they grow up they often 



lose it, and that's one of the world's tragedies. To be 
successful you must be happy; to be happy you must be enthu- 
siastic ; to be enthusiastic you must be healthy and to be healthy 
you must keep mind and body active. Whatever you under- 
take, whether it be grinding knives or building railroads, there 
will be plenty of competition. Learn the value of competition 
by competing with yourself. Make today's mark better than 
yesterday's, whether it be in deportment or dialectics. 

This system of ours — the universe — is founded on motion. 
Everything in the world is motion — is made of motion. Mo- 
tion reduced to elementals means activity, and accelerated ac- 
tivity is just another name for pep. All men walk, but the man 
who walks fast is the one most apt to be noticed. Keep active, 
be enthusiastic, keep moving in mind and body. Activity is a 
synonym for health, and with health plus enthusiasm, wealth 
is just around the corner. 





51 




CHARLES CHAPLIN 



52 



$5 JMfc 



Is It the Glamour 

I HAVE been asked many times, "How can I get into the 
'movies' " ? Even as yet, I do not know and cannot under- 
stand why so many are anxious, even crazed, to enter this 
business. 

Is it the glamour ? Is it that desire, on the part of the public, 
to know the mysteries of what goes on behind the screen, the 
preparations, the association, the many fascinating phases of this 
rather fascinating profession. 

In the majority of cases with which I have come in close con- 
tact, it is not the money — as many of my friends anxious to get 
into the movies are very wealthy — and do not need to work. Then 
again there is the class who are attracted by the reported salaries 
and wealth of the "movie" stars, who feel that they are talented 
and think that they, too, are entitled to their share of the money. 

But stars whose salaries are enormous are few and far be- 
tween and those few arrived there by making it their life's 
study, striving for years to gain the glamour of public favor to 
possibly fade and wane even as the stars change in the meridian. 

However, the desire seems to be universal and in all prob- 
ability will always exist. 

Fate, in my humble opinion, seems to control those who are 
destined to enter the profession, and surely guides them on to 
success — if it is for them. 




53 



^5 



¥9 



Is It Possible to Get into Motion Pictures 

^HE question that heads this article is today the vital 



query that is agitating the minds and fluttering the hearts 



of a population percentage that may fairly be written 
99 3-10%. Age, color, and previous condition of servitude have 
nothing to do with this estimate, and the maimed, the halt and 
the blind, together with the mentally defective and the plain 
paranoic, all hold themselves equally eligible to admission to a 
profession that in many ways is the most disappointing, the most 
arduous and the most exacting of all human endeavor. 

A great writer has said that every man and every woman, if 
properly endowed with the necessary technical equipment, could 
of their own knowledge write one good story. Mark that well — 
he said ONE. Probably every person, if properly cast, could 
give one good performance of a part in a motion picture. But 
having achieved that, would that person be content to quit ? That 
person would not. Rather would he or she stick at the losing 
game, sinking lower and lower in the pictorial scale, hanging 
on to hope. 

Let us now quote a few of the deadly statistics that the 
motion picture industry has gathered during the odd moments 
when the office force was not figuring profit or loss. Out of any 
given ten thousand applicants for movie positions here is the re- 
sult: Ninety-three get a chance to actually appear before the 
camera; fourteen manage to squeeze out a bare existence in 
the studios ; and ONE achieves a place of moderate income. Here 
are your bets, publicly displayed : 



Would any sane person gamble at such odds on any conceiv- 
able sport event ? Hardly ; yet there are tens of thousands every 
year who stake their lives at those very odds. 

When a lad my ambition led me to the stage and soon the 
call of Broadway sounded clear to me. But the question of 
money arose, for old theatrical friends told me that I must pos- 
sess enough to keep me for at least six months while I did battle 
with hostile and entrenched managers. So I went into motion 




At the start... 
At the half.. 
At the finish 



93 to 10,000 
14 to 10,000 
1 to 10,000 



55 





Edwin Bower Hess ex 

VIOLA DANA 



56 



THE TRUTH ABOUT THE MOVIES 



57 



pictures to earn enough to put me on the stage. I stayed in mo- 
tion pictures for twelve years before I was able to realize my 
ambition and return to my first love — the speaking stage. 

But to the undismayed among my readers, my advice is this : 
Search your soul carefully, sound your mind to its depths. If 
you are then convinced that talent, not vanity, is the urge, make 
your decision. First, lay aside enough money to keep you — 
apart from any earnings — for at least six months; a year is 
better. Then bravely batter your way into every studio in Holly- 
wood and keep sociably assaulting every entrenched performer 
and studio attache that fate may throw in your way. Never 
stop, never give up, never quit studying and trying to find out 
how it is done. Clothe yourself in the hide of a rhinoceros, the 
better to resist the rebuffs that will be hurled at you. And then, 
if you are patient, and dependable, and talented, and accom- 
plished and can make up, you may get the chance that the law 
of averages gives you. And where do you go from there? 
Frankly, I do not know. The Three Fates of the motion pic- 
tures, Old Man Opportunity, Kind Providence, and Lady Luck 
now take hold of you. These three and you yourself have the 
future in your collective hands. 

Mothers, I beseech you ! Fathers, I entreat you ! Keep your 
children out of pictures unless you are very sure of their talent 
and adaptability and are willing to stand behind them in every 
way. 

A friend once said to me, "Let this thought guide you : The 
devotion of thought to an honest achievement makes that 
achievement possible.' " But the friend also said, "Do not forget 
that word 'devotion.' " 




JACK PICKFORD— MARILYN MILLER 



^5 



Pull or Ability 



IT IS frequently said — too frequently, in fact — that all you 
need to achieve fame is "a drag." 
If you only know the manager. 
Or if you only have influence with the owner. 
Or if you are rich. 
All a matter of "if"— and "drag." 

With persons who hold these views, I beg to differ. As a 
matter of fact, I believe that not infrequently influence and 
"drag" are handicaps. Incredible though it may seem to some, 
"pull" is more apt to be a liability than an asset. A person who 
accomplishes anything real, anything worth while, gains it solely 
by his own ability. In cases where it is thought that he won 
his position through pull, his ability is discounted entirely. He 
is not given due credit, in fact, he is not given credit at all be- 
cause everybody says, "Oh, shucks, he never could have done it 
if it hadn't been for so-and-so." 

No statement could possibly damage a person more than that 
old, abused fiction, "He never could have done it if it hadn't 
been for so-and-so." Whether a man's ability be great or small, 
under such circumstances he is robbed entirely of the honor 
and distinction that are rightfully his. No matter what mone- 
tary consideration a man may receive, his real reward comes 
in the satisfaction of knowing that he has earned through his 
own conscientious efforts whatever plaudits and praise may 
come to him. 

In no other art or industry, I think, is it so true that a 
person must stand "on his own" as in motion pictures. Often 
you hear the remark, "Oh, he's in right." Let me dispell that 
illusion at once. A person is in right in pictures only so long 
as he delivers the goods. In the last analysis, the box office 
report is the determining factor for a star. There is only one 
way you can be "in right" in the picture business, and that 
is to be "in right" with the public by virtue of the excellence 
of your work. You stand or fall solely on your own merit. 



59 





NORMA TALMADGE 



60 



^5 



What Percentage of Girls Who Come to Holly- 
wood Actually Achieve Success 

ON every train that comes to California from the East — and 
I am told that each month about 15,000 persons arrive in 
Southern California — there are scores of girls whose prin- 
cipal purpose in coming to the coast is to make a place for them- 
selves in the motion pictures. 

What chances of success have these girls? How many in 
each thousand get a substantial foothold in the picture world? 
Why do such a vast majority fail? What type of girl is wanted 
in moving pictures? How can a girl get into motion pictures? 
Those are a few of the questions I am asked over and over 
again, day by day. 

Listed at the various studio employment agencies in Los 
Angeles are more than 25,000 persons who have applied for work 
in motion pictures. These employment agencies divide the ap- 
plicants into many groups. The first division is into male and 
female classes. Women and men are further classified accord- 
ing to appearance and qualifications. 

There are several thousand old women listed who play "bits" 
from time to time. Several hundred fat women are card indexed 
according to weight. There are dozens of very thin women who 
get eccentric roles. There are "very uglies" tabulated. 

In addition there are special "Nationality lists." If a Mexi- 
can or Spanish picture is to be produced the thousands of 
Mexican and Spanish women and men in Los Angeles are noti- 
fied to call. 

Men and women, youths and girls who come to Los Angeles 
to engage in picture work are quickly classified. Some youths 
are fitted only for "pretty boy" roles. Other men are best 
adapted to character work. Some girls have nothing but good 
looks to recommend them. This type comes to Los Angeles by 
the thousand each year. 

The fact that they have not learned to dance, that their 
general education has been neglected, that many of them do not 
respond quickly to suggestions from the director, and are not 

61 



b2 



THE TRUTH ABOUT THE MOVIES 



accustomed to portraying different parts — all militates against 
their success. 

The brainy girl with a good "camera face" has the best 
chance of success. But good looks are not so important as the 
ability to screen well. I know actresses in Los Angeles who 
would not be considered raving beauties but who on the screen, 
photograph wonderfully. 

Girls with ravishing complexions and figures apply daily at 
the studios for work, but fail because they do not "register" 
well photographically. The camera is a fickle creature, and 
some girls with light-blue eyes photograph imperfectly while 
other blue-eyed girls get good parts when the camera tests show 
that they will "screen." 

If a girl has an ambition to become a screen actress and she 
does not live in Los Angeles, I would advise her first to consult 
photographers in her home town. Let her ask them for some 
blunt advice as to her screen possibilities. Better still, if there 
is a news weekly photographer with a moving picture camera 
in her town, let her have a 50-foot test film made. 

This test should be made with and without makeup. And in 
making up for the test let the girl aspirant consult employers 
at the local theatre, who will tell her the difference between 
stage and screen. 

Let me advise all mothers who plan a screen career for their 
daughters to start their training early. Put them in the hands 
of a good dancing teacher. In addition send them to a local 
dramatic school or let them study under a veteran actor or 
actress. Take advantage of every opportunity to give the chil- 
dren "workouts" in amateur theatricals or with local stock 
companies. 

Give the child a good musical education. This may~seem 
strange advice from a screen actress, but studio work is but 
one branch of the theatrical profession and in years to come 
when engagements in the studios are not to be had, work can 
be secured on the stage or in vaudeville, provided that a broad 
foundation has been laid in early years. 

In virtually every big production in which I have appeared 
there have been men and women who have had operatic, speak- 
ing stage, vaudeville and other theatrical experience. And a 
general theatrical and operatic education is invaluable to one 
who makes the art of the thespian his or her life career. 



THE TRUTH ABOUT THE MOVIES 



63 



During the high school years the boy or girl should special- 
ize in dramatic literature and do much "outside reading" of the 
best modern plays. The musical and dancing education should 
be continued as well as the training in art of self-expression 
under a dramatic teacher. School plays are valuable experience. 

The time will come when the young man or woman will want 
to spread his or her wings. If the preliminary training has 
been long and painstaking; if local theatrical people are of the 
opinion that the boy or girl has a good "fighting chance"; if 
Nature had been kind in her awards of good looks — then let the 
aspirant come to Los Angeles. 

But let him or her come prepared for the worst. The 
girl will find it a hard "game." She will wait many, many 
weary hours in theatrical placement bureaus. She will tramp 
around from studio to studio meeting with nothing but dis- 
couragement. She will find her funds growing lower and lower, 
day by day. There will be times when she will despair. She 
may find work at last as "an extra girl" — work that may last 
for only a few days. Then will come more long weeks of idle- 
ness, followed perhaps by several more days or nights of work. 
Then, perhaps, again, some director may "discover" her. He 
will call her from the back ranks into the foreground close to 
the camera. Then will come her opportunity. If she has been 
well trained, if she uses her brains; if she rises to the occasion 
success will follow. 

And now that I have finished, let me add a little postscript. 
It has been my experience that it is "the girl with the eyes" 
who wins out in motion pictures. The color of the eyes does 
not matter so much as their mobility of expression. 

Eyes that are quick to fill with tears, eyes that sparkle with 
laughter at the slightest suggestion, eyes that can glint with 
anger, eyes that mirror passing moods even without accompany- 
ing facial expression, eyes in short, that are "windows of the 
soul" — upon them depends, I believe, the success or failure of 
the young woman who enters motion picture work. 

But, of course, that's just my own little private opinion. 
Write me and tell me if you think I'm right. 



63 





Edwin Bower Hesser 

HELENE CHADWICK 



64 



Coming to Hollywood Prepared 

IF YOU wish to come to Hollywood to try your hand at a 
motion picture career do not attempt it unless, first, you 
have sufficient funds to pay your expenses for two or three 
months and, second, you are sure you have a fair chance of get- 
ting ahead. 

The first provision is easy to decide. If you can afford the 
expenses of the trip without, perhaps, obtaining any revenue for 
several months, and can afford the return trip should you meet 
with disappointment. To come to Hollywood with just enough 
funds to get you there and to live a few weeks generally proves 
poor business. 

As to ascertaining whether you have any screen possibilities 
it is essential that you obtain the frank opinion of a motion pic- 
ture man in your community. A theatre manager or a branch 
manager of a distributing company could, no doubt, tell you 
whether or not you had a chance. There are motion picture 
photographers in most communities who could make a "test" 
of you at no great expense. After the "test" was obtained it 
would be advisable to get the opinion of every motion picture 
man in your community before attempting the trip to Holly- 
wood, even if you had the funds to spare. Unless their opinions 
were highly favorable and unanimous, it would be foolish to make 
the trip. 

Competition in Hollywood among beginners is tremendous. 
The fallacy of coming here for no reason at all excepting that 
friends may have declared "you should be in the movies," has 
been plainly proven to hundreds. The heartaches accorded hun- 
dreds of screen aspirants who come here monthly should be 
heralded broadcast for the benefit of those who wish to become 
film players. The field is greatly overcrowded and has been for 
years. Unless you can well afford the expense and have reason- 
able assurance of men in the business that you have a good 
chance, it will be foolish to attempt it. 

Above all, avoid fake schools for movie acting. 



65 




Edwin Bower Hesser 

ANNA Q. NILSSON 



66 



Advice to Girls Seeking a Motion Picture Career 

WHEN my advice is asked upon this subject, I hesitate. I 
am torn between a desire to suggest that the girl seek 
some more certain profession, and at the same time one 
realizes of course that the very girl in search of the advice 
might be an undeveloped sensation whose career I might, by this 
very advice, ruin. 

I believe if girls generally realized the heartaches and dis- 
appointments incident to the struggle of practically every girl 
worker in pictures, there would be less ambition rampant along 
this line. One hears on every side remarks indicating the popular 
impression that a screen career is virtually a bed of roses; that 
the cinema player is a veritable lily, neither toiling nor spinning, 
but the reverse is quite correct. 

What little measure of success I have attained has been 
accomplished by real, gruelling labor. And I know that the other 
girls of the screen colony will stand by me to a man (or girl) in 
this statement. I merely hold myself up as a horrible example 
because I am, of course, somewhat more intimately familiar with 
my own work than with that of my friends. So when I tell you 
that I live on an honest-to-goodness farm some fifteen miles from 
Hollywood, and drive to the various studios early in the morning, 
frequently after a hard day's work on the stages that the day 
will be lengthened to midnight, or possibly the grind will go on all 
night, I believe you will agree that we work a little. 

The beginner in pictures has an extremely hard time break- 
ing in, and hundreds of them never rise above the "atmosphere" 
actor. Many of them have ability, but the luck-god just doesn't 
seem to be with them. There's a Heartbreak Lane in Hollywood, 
leading by a circuitous path to the gates of the many studios, 
strewn with the wreckage of those, possibly with ample ability, 
beauty, ambition, and all other qualifications, who just couldn't 
seem to make a go of it. 

So my advice will extend this far : Do not impetuously decide 
to try to break into pictures. 




67 





68 



¥9 



Are You a Moving Picture Aspirant 

THE Hollywood Chamber of Commerce extends its thanks 
to you for your inquiry recently received relative to the 
possibility of your getting into the moving pictures in 
Hollywood. You may not know, but are here advised, that the 
Hollywood Chamber of Commerce, some time ago, inaugurated 
a campaign for the purpose of disseminating information de- 
signed to curb unrestrained immigration of the younger element 
to Hollywood. 

In this connection I am free to say that at this time the 
moving picture business offers very little inducement to all 
applicants who are not amply trained, experienced and qualified 
for work before the screen. 

At the present time the principal employment bureau operat 7 
ing for the moving picture business reports 100,000 registrations 
on its list. People are coming here by the thousands every year, 
a goodly proportion inspired by false hopes that the moving 
picture business offers them an easy means to fame and fortune. 
Registration books have been closed for some time to applicants, 
and out of the list of registrations only a small proportion has 
been able to procure work at all. 

Experienced extras are being employed from three to four 
days a week at from $5 to $10 a day, according to information 
provided us by an official of Screen Service, an employment 
bureau located at 322 South Broadway. 

You will note particularly, that the above refers to such per- 
sons as come here poorly provided with funds. The Chamber 
of Commerce does not direct this campaign against those people 
who are able to finance their own coming, and are further able 
to remain here from six to twelve months on their own resources 
while they are waiting an opportunity of getting into the movies. 
To these people the chamber says, "Come well provided with 
money to finance your stay, and if possible bring mother.'' 

You are advised that extras now being employed must have 
qualifications, experience and training. Chief consideration is 
given in assigning extras to work to the class known as perma- 
nent and dependable picture workers. One class is known as 
the "western cowboy, country and general types," the other, "the 
society class." All must provide themselves with habiliments 

69 



NORMA SHEARER 



70 



THE TRUTH ABOUT THE MOVIES 



71 



needed for the parts in which they are to be cast. The cost of 
these wardrobes run from $350 to more than $1000. The wage 
paid for this work ranges from $3 to $10 per day. In the society 
class a girl must be provided with at least one evening dress, 
dinner clothes, morning and afternoon costumes, sport, riding 
and golf outfits, furs, etc., shoes and boots in fact, everything 
that a society woman should have in her wardrobe. 

This information has been procured by the Chamber of Com- 
merce through a survey conducted of the most reliable sort. If 
there is any more information that you would care to have, if 
it is within our power, we will provide it for you. 

Very truly yours, 
HOLLYWOOD CHAMBER OF COMMERCE. 
Harry Barratt, Ass't Sec'y. 




JOBYNA RALSTON 



72 



toss 



¥5 



The Motion Picture Aspirant 

IN ALMOST every hamlet, village and city in America, there 
are girls who fondly imagine that they are especially qual- 
ified to make tremendous screen successes. They themselves 
believe it and have been told so by fond parents and friends. 
Therefore, they build their dreams and hopes on entering a pro- 
fession which is already overcrowded and which, ethically, and 
in every other way, is a sealed book to the layman. Funda- 
mentally, talent is necessary in the dramatic profession. Dor- 
mant talent may be developed by a director, but the inherent 
talent must be there, the wish to express motion, the study of 
emotion and of human life. Parents, as a rule, have devoted 
their lives to pursuits which deal with the home and its domes- 
tic problems and, generally speaking, their convictions as re- 
gards the dramatic profession, could hardly be correct. There- 
fore, their judgment and their children's judgment are about 
on a par, so far as a correct estimate of talent is concerned. 

One of the most fatal mistakes prevalent today is to imagine 
that, because a girl is beautiful and photographs well, that her 
success in motion pictures is assured. These are two great as- 
sets but it is necessary to acquire experience and knowledge of 
life before one attains to success in this profession. If a girl 
becomes a successful ingenue, it becomes necessary, afterwards, 
to become a successful dramatic actress, if she wishes to realize 
all the rewards of the profession. As an ingenue, she has a 
brief year or two and then her meteoric career is closed. She 
has tasted the rewards and the fascinations of this interesting 
business and, suddenly, she is placed without the pale. 

It is a pity that girls who aspire to this profession could not 
interview a director before leaving home and take his profes- 
sional opinion as regards their qualifications. It is equally fatal 
to enter upon this profession without first having some other 
means of support, some small position, something that would 
carry one over the rough spots. 

The girls who seeks screen success must be so thoroughly 
assured of her inherent ability to succeed as to impress that 
ability upon those whom she interviews. She must realize that 
the profession is not all tinsel and glitter and that actresses 
work harder and expend more nervous energy than do women 

73 



Edwin Bower Hesser 

ANITA STEWART 



74 



THE TRUTH ABOUT THE MOVIES 



75 



in any other walk of life. She must realize that every success- 
ful actress blazed her pathway for herself, oftentimes at the 
expense of her feelings, her vanity and the destruction of her 
cherished illusions. When these facts are realized by girls, when 
they realize that they are entering upon a very serious profes- 
sion where many things are first to be learned and digested and 
that the biased opinions of loving parents and admiring friends 
amount to nothing, they have taken the initial step towards 
screen success. 

In Hollywood, today, there are hundreds of pretty girls work- 
ing in pictures. Sometimes they work and sometimes they don't. 
But all of them believe that they are especially qualified for lead- 
ing women and that, some day, their chance will come; when, 
in reality, their chance will never come because they are marked 
and branded for extra work and they lack that inherent talent 
which is necessary. Life passes them by and they do not see 
it going. They are concerned about other things. However, 
they have tasted the fascinations of this profession and ~have v un- 
fitted themselves, in all probability, for any other walk of life. 

The motion picture business needs new talent, in many eases, 
and new talent is hard to find. Talent is a case of self analysis, 
a careful consideration of what is in the shop window and what 
is inside. A director can show a girl what to do, but she must 
do it in accordance with her particular character and appear- 
ance, which means that she must have some conception of the 
part herself, gained by study and consideration. 

In conclusion, it is always well to state facts. It is always 
humane to save a soul from bitter disappointment. It is al- 
ways well to teach a human being how to accept the opinions of 
others, who are qualified to give those opinions, in a disinter- 
ested and unbiased way. For, in the final analysis, success in 
this business requires a certain amount of appearance, but it re- 
quires, more than that, an inherent appraisement of real ability. 
Every physical attribute must be correct. Grace of carriage, of 
movement, of poise and repose, knowledge of clothes and of how 
to wear them, self-control and the fundamentals which make it. 

None of us seek to discourage. We seek to encourage, but 
proper encouragement always consists in stating facts. 




LEW CODY 



Clarence S. Bull 



76 



^5 



Is There a Short Cut to Stardom 

N unfortunate idea held by a great many people is that if 



they individually can only get their feet beyond the door 



of a motion picture studio the rest of their progress to 
fame and fortune will be comparatively easy. 

Let me take this opportunity to banish that misconception 
once and for all. All we can do is offer the beginner a chance to 
show us whether or not he or she possesses that little inner 
spark which means genius in the interpretation of various char- 
acters for the screen. 

You must, first of all, be possessed of a real, positive per- 
sonality, if you expect to get ahead. You must have a per- 
sonality that will get across to those who see you on the screen, 
in a manner to make them either like you very, very much or 
hate you to the same degree, for we are quite as much in need 
of capable people playing unpleasant parts as of those of the 
hero and heroine variety. 

Personality, let me stress again, will be your most important 
asset, and I think that this phase offers the greatest possibili- 
ties for disappointment. You may have a very pleasing person- 
ality in private life and be very attractive to all who meet, see 
and talk with you, but on the screen it is quite possible that you 
will leave entirely cold those who behold your efforts. 

During the filming of a scene, showing thousands of the 
Children of Israel fleeing from captivity in Egypt, I noticed one 
black-haired, black-eyed girl who was charming and graceful in 
every move, whose black eyes sparkled, who could express sorrow 
and pleasure at will and who, in fact, appeared to be a real "find." 

I moved to a close-up of her and she acted excellently for me, 
but the next evening when we saw the scene on the screen all of 
the charm was gone. She just did not get over. I cannot explain 
it, though I have many times seen this phenomenon. But it is a 
fact, and a fact that will prove one of the hardest things you 
will have to contend with in motion pictures. 

That many enter motion picture studios and only a few 
develop real "screen personalities" is the reason why, to the few, 
the rewards are relatively high. 




77 




RENEE ADOREE 



Edi 



78 



How Not To Be a Movie Star 

IT IS to be regretted that certain literary mediocrities have 
worn out perfectly good typewriters in seeking to exploit the 
evils and temptations that will beset the paths of "Evangel- 
ine from Edenville" seeking fame and fortune as a potential 
movie star in the "licentious purlieus" of Hollywood. 

As a matter of fact, Hollywood is nothing more nor less than 
a community of rather interesting people leading normal but 
rather interesting lives. The "evils and temptations" are of 
exactly the same variety that flourish in and around the corner 
drug store at Edenville, and the "licentious purlieus" (as any 
disappointed tourist who has sought them, will admit) exist only 
in the obscene imagination of these literary tinkers. 

There is, however, one grave danger that every aspirant to 
movie fame must, sooner or later, encounter. And because it 
lacks the glamour of romance, and because it offers no possi- 
bilities of salacious entertainment, it is rarely, if ever, men- 
tioned. It is the danger of slow starvation. 

As I have suggested above, much has been written about 
the girl from home, whilst the fate of the boy — and they flock 
to Hollywood in their pitiful thousands — has either been over- 
looked or wilfully neglected. 

From every corner of the earth they come and across the 
Seven Seas — borne on the tireless wings of youthful optimism. 
Pathetic pilgrims these, struggling on to ultimate disillusion. 

In most cases their assets, generally considered, amount to a 
one-way ticket to Hollywood (the saving of their young lives), 
an inadequate wardrobe, a still less adequate bank-roll, a terrify- 
ing determination to break into the movies, and (most disas- 
trous) the rather appalling knowledge that in the old home town 
they were considered to be good looking. 

The ensuing tragedy of the studios is too hackneyed to be 
enlarged upon here. Some few of them, escaping immediate 
disillusionment, function precariously as "extra boys" on a seven- 
and-a-half dollar check and if they are very fortunate they may 
strike a yearly average of three checks a week. Out of this piti- 
ful income they must live and maintain an expensive wardrobe. 

Of these chosen few, perhaps one in two thousand may event- 
ually after a few years of heart-break and hard work, reach the 

79 



Edwin Bower Hesser 

MAY ALLISON 



80 



THE TRUTH ABOUT THE MOVIES 



81 



place where he plays small and infrequent parts, thereby averag- 
ing the salary of a rather badly paid dry goods store clerk. And 
of these, not one in twenty thousand ever attain the intoxicating 
heights of stardom. 

Of the fate of those unfortunates who fall by the wayside, 
there is no record. One supposes that the more fortunate ones 
suffer the humiliation of wiring home for the price of a return 
ticket, and that the others, after varying periods of hardship 
and, in many cases, actual privation, eventually gravitate to 
their own economic levels. 

The more flagrant causes of these hopeless failures are too 
obvious to be mentioned here, but the fundamental basis of 
every failure ought to be broadcast to every community in 
America. In each case it may be traced to ignorance of 
the actual requirements of the screen, the extraordinary and 
prevalent idea that the essentials of a successful movie actor 
are good looks and good clothes, and finally and tragically the 
very motive that in the first instance actuated this fearful ad- 
venture — their good looks. 

Hollywood is crowded with beautiful women and good look- 
ing men, all hammering frantically upon the iron doors of movie- 
dom. Now and then one or two, either by good luck or persist- 
ence, slip through and glimmer faintly on the horizon of fame. 
But of the vast majority there is no record, and by very reason 
of their fatal beauty they are thrust into hopeless oblivion. 

If any one has any doubts upon the matter, save up a few 
hundred dollars and let him spend his summer vacation trying 
to break into the movies* but don't give up your job. 

FRANK BUTLER 





MONTE BLUE 



82 



¥9 



Have Extras the Chances for Advancement 
Offered Ten Years Ago 

r^O this question I answer yes and no. Yes, because despite 



the rapid advance of the cinema art, new faces are as 



eagerly sought today as they were ten years ago. After 
despairing of finding their talent on the stage, producers are 
forced to recruit their talent from extra and non-professional 
ranks. In the affirmative reply, I would warn the ambitious 
aspirant that producers are getting into a frame of mind where 
they will not tolerate the player whose experience is limited to 
stories he has read about the picture business. My advice to 
the aspirant is to study the pantomimic art before applying for 
work at the studio. Then there is hope for starting a career. 
Today, the aspirant meets obstacles in his pathway that, ten 
years ago, were not existent or not nearly so difficult to over- 
come. The producer has placed his product on a pedestal that 
is elevated above every other form of amusement enterprise. 
Careful and systematic methods have been installed due to the 
tremendous development of the industry. 

The knowledge that you possess some previous training will 
give you both poise and power. Then you may break through 
the Chinese wall that Hollywood is to the screen aspirant. Screen 
acting isn't pie and cake and honey. You should read the best 
books, see the best plays, get close to all the culture that you 
can. Then your script must be your Bible. You oftentimes 
have to work from morn to dewy eve, if not at the studio, then 
at your own home. 

I was flung into the movies through a turn of the wheel of 
Fate. Frankly, I was hungry and found it necessary to eat. 
I had been soldier, sailor, cowboy, railroader, even shoveled in 
the street. I was always searching for something and found 
it on the screen, not when I was a success and made money, but 
in the dark of poverty and obscurity. "This is your medium of 
expression," and it was my own soul which spoke, so I stuck 
to it through years of purgatory and, as I said, it isn't Heaven 
even now and never will be. . a 





S3 




r 



Henry Maxman 

CONSTANCE TALMADGE 



84 



¥9 



What Opportunities Are There for a Girl Who 
Is Willing to Work to Stardom 

DON'T try for fame before the camera ! 
First, get an old-fashioned job — behind the camera. 
That's my advice to the girls who soon will be flock- 
ing toward Hollywood and New York seeking fame on the 
screen. Of the thousands of girls who are considering business 
and vocational careers of all sorts, many of them will try to be- 
come famous in motion pictures. 

To those girls who come to Hollywood, I would suggest that 
they first take a look around studio-land and investigate the 
many lucrative capacities "off the screen" in which they might 
make a good living, before they try for success in the heart- 
breaking calling of an actress. 

If a girl can write there is a field for her in the scenario 
departments. If she is just beginning I would suggest that she 
try her hand first in the titling department. Writing titles is 
at the same time the simplest and most difficult task around 
a studio. Titles must be short, expressive and simple. Multum 
in parvo. That's the screen title. 

But one must not think that because they are short they 
are "easy." Ask any headline writer on a newspaper how im- 
portant and how difficult it is to lay out "punchy heads" which 
tell everything, overlook nothing, and yet must exactly fill the 
space intended for them. 

Then will come the time when the girl writer may be en- 
trusted with adaptations of stories, novels and plays. This is 
well paid work and requires much studio experience. The writ- 
ing of "originals" for the screen is creative work of a still better 
paid nature. There also is a field in the studios for women 
writers who can prepare advertising matter for newspapers 
and magazines. 

The laboratory of every big studio employs scores of young 
women. Many of the girls get good pay as "splicers." Other 
girls "break down" old negatives and positives, prints which 
they classify under various heads such as "war scenes," "auto 
smashups," "fire scenes" and the like. These girls also have 



85 





FOREST STANLEY 



86 



THE TRUTH ABOUT THE MOVIES 



S7 



charge of the film vaults, housing these valuable bits of film 
which are used in new pictures for "atmosphere," and there 
are numerous other positions about the laboratory where girls 
are becoming more in demand. 

I know one girl who formerly was a school teacher back East. 
She is now employed by a studio to teach the many children 
employed on that particular "lot." The children go to their 
classes to her between scenes. 

Another girl I knew in Brooklyn, and who had quite a 
local reputation as an artist, is now employed by Joseph M. 
Schenck making sketches for sets, advertising lithographs and 
portraits in oil. This girl's specialty was oil paintings and she 
finds continuous employment around the studio on work assigned 
to her by the art director. 

Leon Tosi, noted Italian sculptor, now at the United Studios, 
has as his capable designer and assistant a young woman who 
studied sculpture in Paris, Rome, and other European capitals. 

In the costume departments of the studios hundreds of 
women and girls are employed. Many pf these young women are 
highly paid interior decorators. They know period costuming 
in all its details and would never confuse a costume of the 
time of Napoleon I with one of the time of Queen Elizabeth. 
Other girls are employed as drapers. 

It is surprising the number of occupations girls and women 
have around the studios. All the stars have highly paid stenog- 
rapher-secretaries who handle the "fan" photographs, mail and 
personal correspondence. And let me say right here that a star 
has got to be somewhat of a business woman to handle her 
personal business. There are important people who must be 
shown every attention. They must be entertained by the stars 
when they visit the studio and their every request must be 
complied with — for good business reasons. A good secretary can 
take care of much of this work. 

There are girls who have become directors. Other girls 
have become decorators, accountants in the studio business office, 
"still" photographers and property women. One former extra 
girl is now running a beauty parlor on a studio lot and employs 
several manicurists, hair dressers and other experts, who are 
liberally patronized by the stars. 

There are many women who are casting directors around the 
studios, and one woman runs the transportation department on 



Edwin Bower Hesser 

CLAIRE ADAMS 



THE TRUTH ABOUT THE MOVIES 



a well known lot, sending out hundreds of cars daily. Other 
girls who are good letterers, find employment in the studios 
writing title cards. 

A young college woman designs and sells art glass such as 
is used in church windows. There is a good demand for this 
glass in the studios. Another former needlewoman has special- 
ized in artificial flowers, and make a good living at it, while 
one of her old chums is now running an antique furniture and 
property shop. 

A former laboratory girl is now making money tinting and 
hand painting important film scenes. Another actress who was 
fairly well known for her work in stunt pictures is running a 
riding academy for actresses. 

And so, when I consider the innumerable profitable vocations 
which a girl can follow in Hollywood, I often wonder why it 
is that so many girls come to Hollywood each year and live 
three or four in a room merely for the privilege of working now 
and then in a picture. 

The extra girls make only a precarious living. There are 
weeks at a time when they cannot get work, depending upon 
whether or not there happens to be a Hollywood vogue for big 
casts or not. They spend many weary, discouraging days tramp- 
ing around from one studio and one employment office to an- 
other when they might be making a comfortable living in some 
specialized branch of studio technical work. 

My advice to the thousands of girls who come to Hollywood 
is to seek, first, a plain, ordinary, every-day "job" around the 
studios. The opportunity to become a star may come later. 





Evans 

HOUSE PETERS 



90 



^9 



Breaking Into the Movies 

HE surest thing about advice regarding breaking into the 



movies is that, like most advice, it is superfluous. The 



young man or woman who is determined to become a mo- 
tion picture actor or actress will eventually get there, despite 
every obstacle. If it's "in the blood," as the saying goes, noth- 
ing on earth, in the heavens above or in the depths below, can 
keep them from the studios! 

The real pity of the situation comes about in those cases 
where the young "prodigies" are encouraged beyond their worth 
to take up acting as a profession. The boy who wins the debat- 
ing contest in his district school or the elocution contest for his 
county — the child-reciter who is brought into the parlor, when- 
ever "company" comes, to speak his piece — the member of the 
amateur theatrical troupe who is a distinct success before an 
audience composed entirely of his friends — these are usually 
the people who are mistakenly urged by their relatives and ac- 
quaintances to come to Hollywood because "they are just as 
good as Mary Pickford or Charlie Chaplin." 

But, after all, those who are determined to break into the 
movies will do so ; and they should, if they have that determina- 
tion and instinctive desire within their souls. To them I would 
give one suggestion: You must concentrate absolutely on your 
new profession and be prepared to make every sacrifice, if you 
would rise in it. You must live only for your work, and find in 
it that enjoyment which most people seek after the business day 
is over. During those hours when you are in a studio, you should 
be observant of everything that goes on about you; and after 
your studio work is done, go over the performances of the actors 
that you have seen ; or if you have arisen to the dignity of play- 
ing a bit or small part yourself, study that part at night in your 
own lodging. Just as the player on the speaking stage must 
study his lines and rehearse his part during his leisure hours, 
so the film actor should study his own role constantly. 





91 



LOIS WILSON 



92 



What Chance Has the Extra Girl in Pictures 

THIS is a more difficult question to answer than it really 
appears to be. I might answer, offhand, very little. But, 
if I did, it would not be strictly the truth. 
If all girls who work as extras in pictures were of a uniform 
type — cast in the same mould — that reply would be very nearly 
accurate. But, of course, they are not, and it is there that the 
human equation must be so largely taken into consideration. I 
was once an extra girl myself and Fm not ever going to forget 
it when another girl comes to me for advice. 

I would answer the question this way: If you have that 
"something" — call it personality — which lifts you above the 
common run of humanity if you have special talents — riding 
dancing, swimming, etc. — if you have the instinct for pantomime 
and are intelligent, and if you photograph well, why — then I 
should say you have a pretty good chance. 

But, it is well to remember that less than one in five hundred 
of the girls who play as extras ever reach stardom. Possession 
of merely a pretty face will not get you by in competition for 
screen work today. 

Just one thing more : I would urge you not to come to Holly- 
wood with the sole idea of working in the "movies." It is un- 
fortunately true that there has been such an influx of talented 
boys and girls that there are literally a hundred applicants for 
every bit to be played. 



93 




Edzuin Bower Hesser 

ESTELLE TAYLOR 



94 



^9 



^9 



Who Stands the Better Chance in Pictures, 
the Young Woman or the Young Man 



EARS of training and experience are necessary before one 



can make a good actor or actress. It takes longer to 



reach fame on the stage than in the motion pictures 
. because of the comparatively small audiences played to each 
night. When one has once learned the lessons and obtained a 
start in pictures, fame and success are meteoric. 

It is my opinion that the woman stands the better chance to 
achieve success in pictures than the man. But I must qualify 
this by saying that the man's success is more enduring, although 
it takes longer to attain. 

Youth and beauty in a young girl offers greater competition 
than years of experience on the stage when considering who 
stands the better chance in motion pictures. On the stage age 
means nothing in either a man or woman. In pictures age is 
everything to a woman and to the man — nothing. 

A young and beautiful girl, and she must be both to play in 
pictures, attracts attention wherever she may go. A young and 
handsome man does not receive as much consideration. When 
applying for an opportunity in pictures the young lady is given 
the first consideration. She would be more apt to be selected 
because of her youth and beauty regardless of experience, but 
the man must have some experience. 

The possible explanation for this is that youth and beauty 
more than makes up for any inability to act. Theatregoers like 
to see beautiful girls and would not be severe with them if they 
failed to live up to the part. 

A woman must start very young. She must get her start 
quickly. Her life in motion pictures is short. Over thirty, she 
begins to slip. 

A man has to be more patient and build slowly, preferably in 
stock or on the stage, before attempting pictures. To most 
women, men attain a fascination with greater experience and age 
that the young man cannot supply. Although it takes them 
longer to get there, they have a longer life. 

I firmly believe the young woman with beauty stands the 
better chance. A 




95 




¥9 



^9 



Why So Difficult to Break into Moving Pictures 

AFTER many years on the stage, but 
only a very few on the screen, I 
often find myself wondering why 
so many splendid actors and actresses I 
know of are unable to get an opportunity 
to show what they can do on the silver 
sheet. 

I know of quite a few artists whose 
gifts would be a grateful contribution to 
our great industry, but who are without 
the seemingly necessary asset of a name. 
I speak from personal experience, as for 
/3 wiW years I tried in vain to enter the picture 
field, until finally, under the strangest 
circumstances, which I need not relate here, I was cast for the 
part of Luke Hatburn in "Tol'able David." Here was a most 
unusual case of a director taking a wild chance, as for years I 
had been a comedian. Henry King, however, met my expostula- 
tions with insistence, and so it came about that a comedian made 
his debut into motion pictures as a thrice "dirty dog heavy." 

It is not often, however, that a producer or director will take 
such a leap in the dark, as not unnaturally they wish to be dead 
sure that their cast is as near perfection as possible from the 
star down — and then again the exhibitors almost insist on 
"names" in the casts of the pictures they are to present. 

This, from a commercial angle, is reasonable; but I cannot 
help feeling that this condition will be modified as time goes on, 
and that the day is not far distant when the many "unknown" 
will have the opportunity to display their talents, which preforce 
have lain idle, and a solution offered to the all-important ques- 
tion, "Where are the screen actors of the future coming from?" 




97 




Eugene Robert Richee 

POLA NEGRI 



98 



Tell Us How to Meet With Success in Pictures 

THE other day an interviewer from a prominent motion pic- 
ture magazine asked me this question: "At what time in 
your life did you do the hardest work?" "Now," I an- 
swered promptly. 

He seemed very much surprised, so I explained. 
When I was young and comparatively unknown, I had very 
few to criticize the way I did things. Today there are millions 
of people who have that right. When I was just beginning, I 
had to please only a small number of people. Today, if I am to 
please all those who see my pictures, I must work harder than 
ever before in my life. 

It is a wonderful thing to realize that one has seen success, 
but one has also to go on deserving that success. It is not 
enough to do good work once. One must continue to do good 
work and the better it is, the more is expected. To do good work 
you must also do hard work for success is the great task-master 
of the world. 

When I was asked to give my advice on how to meet with 
success in pictures, I felt a little sad. After all, advice is so 
easy to give and so very hard to follow, sometimes. 

In the first place, you must ask yourself this question: "Am 
I prepared for hard work?" 

You must also go on from there and ask, "Am I ready to spend 
all my leisure time in study? Am I willing to bring all my 
faculties to the task of understanding the terse directions which 
a busy director will give me when he is preparing a scene ? Am 
I content to work long hours without recognition in the hope 
that some day my reward will come? 

If you are able to answer all these questions in the affirma- 
tive, then you are turned with your face in the right direction. 
When you ask yourself these questions and answer "Yes," be 
very sure that you mean what you say. If you don't, the 
actual test of WORK will discover the self deception you have 
practiced. 

When you are given a role to play — however small — try to 
realize just what sort of a person your character would be in 
real life. Try to get "inside" your character, as the saying is. 
Decide for yourself what that person's ideas would be and what 



99 



100 



THE TRUTH ABOUT THE MOVIES 



the outlook upon life would be in her station. Think about your 
character all the time. Visualize her in relation to the whole 
story of which she is a part. 

In order to do this best, you should try to secure an oppor- 
tunity to read the whole script from which the picture is being 
made. In this way, you will be able to understand the relations 
of your role to the other characters and to the story they portray. 

Always be ready to ask and to receive advice. Working in 
the company you will find players who are wise in the craft of 
the stage. Some of them may have appeared behind the foot- 
lights more than half a century ago. If you can absorb some 
of their knowledge, it will help you a great deal. 

Accept criticism from the director in the spirit he intends it. 
Remember he has all the responsibility of making a good picture. 
When he uses a minute of his time to show you how a thing 
should be done, he is spending money upon your education. You 
should be grateful. 

Every time you hear a minor player say, "Oh, I never get 
a chance to show what I can do," you can make up your mind 
that player could not do much even if she had a chance. 

Every time a minor player gets into a picture in any capacity 
whatsoever, that player is being given a chance — all that is 
needed. The director sees what she is doing just as much as 
he sees what the star is doing. His eye is on everyone. The 
quality of his picture depends upon the work of the players. 

No one gets anywhere without work. Stardom does not mean 
that one has finished with endeavor. The more work you show 
yourself capable of doing, the more will be expected of you in 
the future. And after all, when you consider the rewards, isn't 
it worth while? 

When I speak of rewards, I do not mean the world's applause 
and the money which follows success. The reward I mean is 
that inner sense of accomplishment, the satisfaction which comes 
to one with a deep feeling of peace when one has done one's very 
best and it has been recognized. 




¥9 



¥9 



Is It Difficult to Get Into Pictures 

I KNOW that it is exceedingly difficult for the beginner in pic- 
tures. It is much more difficult for a girl. She must have a 
large wardrobe, and a goodly supply of money to keep her 
for at least a year. I started my career in comedies. I learned 
that they did not make the demands on my wardrobe that the 
other companies did. 

I believe that it is more difficult to break into pictures now 
than it was a few years ago. The screen has an inexhaustible 
supply of good actors and actresses. A few years ago this talent 
had not been developed, and there was more of a demand for 
players. The person who starts work in pictures today must 
be satisfied with a small job every few days. 



'HERE is nothing more important today in the lives of girls 



seeking a successful career on the screen than selecting 



and building one's own specialty as to characterization. I 
have often heard it said that this is the day of specialists in all 
lines. It certainly is true of motion pictures. 

For three years I accepted whatever parts in pictures that 
came to me without thought of working toward one outstanding 
screen characterization. At last my specialty dawned on me and 
perhaps, after all, this was my one possibility for screen success. 
It was in the picture, "Wandering Husbands," as a madcap, care- 
free and laughing vamp. This characterization, apparently, was 
one that picture goers had unconsciously waited for. Theatre 
goers themselves found my specialty for me and it is my aim 
to strive to build and hold that specialty so long as picture goers 
approve 




Be Sure to Specialize 





101 




Witzel 

REV. NEAL DODD 



102 



^5 



The Padre of Hollywood 

HEN I settled in Hollywood, I had previously heard a 



great deal of pro and con gossip concerning motion pic- 



Y ture people. Somehow, one always hears these things 
about persons who are continually in the public eye. So, in the 
performance of my duty, I began to call upon the motion picture 
artists of Hollywood to see if there was anything I could do for 
them, any services I could render them in conformity with my 
mission in Life. It seems that they had been assailed from 
many pulpits and my reception, at first, was very cold. However, 
that was to be expected and I persevered in my efforts until, 
gradually, they began to have faith in me as in one who was 
really interested in giving them that consolation which may al- 
ways be found in the Word. I take it that that particular con- 
solation is needed, not only by the motion picture artists, but by 
persons in every walk of life. It was a great pleasure and also 
a great reward for me to find that the ladies and gentlemen of 
the films — and there are many of these — accepted my advances 
towards them in the same spirit in which they were tendered 
and, gradually, my Church here became the place to which they 
could bring their troubles, domestic, private and sentimental. I 
need only to say that Charlie Stevens, a very old and well 
known actor, is the warden of my Church, which, in a man of 
his experience and analysis of life, is a great compliment to the 
work I have tried to do. Mr. Frederick Palmer of the Palmer 
Photoplay Corporation, is the president of the Men's Club, while 
numerous motion picture celebrities are numbered among my 
congregation. 

In reality, I suppose that my church and my flock here might 
be likened to that famous New York institution, "The Little 
Church Around the Corner," for, among those wonderfully in- 
teresting personalities who make you laugh and cry and who 
laugh and cry oftentimes themselves, there must always be a 
"Little Church Around the Corner," where, under the genial and 
kindly exposition of the 'Word, they may receive the faith and 
the consolation which is best adapted to them. Among them, 
there are examples of sublime faith and true understanding. 
From me, they need no defense and I rather deplore the some- 
what vicious and uncalled for manner in which they have, often- 




103 



Edwin Bower Hesser 

LILA LEE 



104 



THE TRUTH ABOUT THE MOVIES 



105 



times, been assailed. When one finds, among any certain class 
of people or in any certain community, that perfection and per- 
fect virtue for which we are all striving, either consciously or 
sub-consciously, then there would be no need of religious con- 
solation and uplift and the millennium would have come and I, 
personally, think we are very far, indeed, from the millennium. 

When I say that I have endeavoured to go among the motion 
picture colony here and do what I could for them, provided they 
needed and wanted me, I speak the literal truth and, practically 
speaking, I have entered into all departments of their lives. 
I have been the receptacle of their confidence. I have tried to 
impart consolation to them in those moments of human weak- 
ness which assail all of us. It is true that it requires a somewhat 
rare tact to go upon a mission of this kind because, somehow, 
anything pertaining to the bringing of the Word, smacks of tech- 
nical religion and one must approach them through the medium 
of sincerity of fellowship and the mission, oftentimes so dras- 
tically proclaimed, must be softened and alluded to gradually. 
In fact, it is more a process of thought than of word at first 
but, afterwards, one finds that the word is suggested at the 
proper moment. 

Contrary to the general belief, marriage and the sanctity of 
marriage are generally understood here. It is all a matter of 
proper explanation as are all truths. In nearly all cases where 
marriage was contemplated, the parties visited me and I gave 
them a brief resume of the importance and the solemnity of the 
contract which they were about to enter into. I found that, gen- 
erally speaking, the explanation, coupled with the sincerity of 
feeling which I experienced, had a marked effect and, last year, 
I performed thirty -four marriage ceremonies and there were very 
few divorces among them. I was also approached, upon several 
occasions, to perform ceremonies between divorced people and, 
of course, refused, because, in my denomination — Episcopal — 
there is no divorce. It amused me somewhat when a certain very 
well known motion picture producer, determined that I would 
perform the ceremony between himself and the girl of his choice, 
offered me three thousand dollars. I had some difficulty in mak- 
ing him understand that the power of his money was null and 
void when compared with the necessity of adhering to the rul- 
ings of my denomination. 

To one in my profession, a Minister of God, all men and all 
women are the same. No one is perfect, nor am I perfect. My 




Edwin Bower Hesser 

JOHN BOWERS 



106 



THE TRUTH ABOUT THE MOVIES 



107 



church doors are thrown open to all who may wish to come. My 
efforts and my services are given to all who may require them. 
I ask for nothing but faith and belief, and the development of 
these qualities I try to bring about by the explanation of the 
Word. Possibly, in no business, are there so many temptations, 
so many obstacles to be overcome, so many trials and struggles, 
as in this business. Possibly, there is no class of persons, who, 
because of those temptations, trials and struggles, require more 
careful handling than do those who have given their lives for 
your entertainment. I have tried to appreciate these facts and 
I have found no occasion for drastic criticism, no occasion for that 
smugness of acquired virtue which is attempting to take the 
mote out of the eye of the world. In fact, I know of no class 
who, because of experience and trial, is more adaptable to the 
proper reception of the truth than are motion picture people. 
I know of no class who come more willingly under the influence 
of that truth than do these people. I am not called upon to 
criticize. I am called upon to give my services in as kindly and 
as sincere a manner as is possible to me. 



No Easy Road to Fame on the Screen 
HERE is no easy road to screen fame. Everyone who gets 



into the sacred lime-light has some qualification which 



makes it possible. Occasionally you hear of a beautiful 
girl or a handsome young man who rises, meteor-like, to the 
position of stardom. 

This success is not accidental. The qualifications were there. 
If you make careful inquiries, you will find they did a lot of hard, 
discouraging work in the ranks of the extras before their chance 
came. If there has been a case of anyone walking straight into 
a studio and on up the ladder without heart-breaking effort, it is 
unknown to me and if it exists, it is the exception which proves 
the rule. r\ 







JACK HOLT 



108 



¥9 



The Motion Picture Business a Hard Game 

\ OTION picture work is the hardest game I know. I have 



tried a lot of games. When I left college I was trained 



for engineering. For several years I followed that pro- 
fession in some of the wildest parts of America. 

Later I went to Alaska where I drove a dog team in weather 
forty below. After that I ranched in Oregon. 

All of these were hard but not so hard as the motion picture 
business. I write this in all seriousness. You have to fight des- 
perately hard to gain success and once you have it, you must 
fight twice as hard to hold it. There are so many struggling 
to take away your place unless you defend it. 

Engineer, miner, sourdough and rancher but the last, my 
work in pictures, was the hardest test of all. 



Is There a Short Cut to Stardom 
LL the publicity about beauty contest winners to the con- 



trary, I think it is safe to say that ninety-nine per cent 



1 1 of the people who are well known on the screen today have 
been in pictures from seven to ten years. Now and then we 
see what we think is a new face prominent on the screen, or 
prominent in the advertising matter on a picture. But it is 
very likely that that face — not so prominent perhaps — was still 
in pictures, maybe hovering around the edges of the mob scenes, 
a half dozen years ago. 

One night I had the pleasure of being at Harold Lloyd's 
house ; Harold asked me if I remembered the days and days that 
he used to sit on a bench in our outer office and I would never 
give him a job. That was probably ten or eleven years ago. 
Harold Lloyd was on the screen for six years before he really 
became prominent and remembered by the majority of the fans. 







109 



Edwin Bower Hesser 

VIRGINIA VALLI 



110 



What Is a Star 

IN all probability, personality is the principal asset of a girl 
who has made a success of dramatic portrayal, a field of 
human endeavor in which so many strive for success and 
fail. Personality, as I understand it, is the development of 
those qualities within us which, when dramatically expressed, 
strike a sure and true note in the hearts and minds of those to 
whom we convey them. And what are the qualities which con- 
stitute personality, that elusive and badly defined gift to humans 
which spells success. The human form is an expression of human 
personality. Hope, determination, trueness, universal love con- 
stitute human personality and, when intelligently and truly ex- 
pressed, they are the elemental qualities of success. 

In all of us, these qualities exist. Some of us have determined 
to be true to ourselves rather than to any stereotyped conven- 
tionality of dramatic expression. We have determined to inter- 
pret life and emotion according to our conception and, in so 
doing, have developed personality. Personality or individual 
expression attracts as does a magnet. Hundreds of people, day 
after day, are killing their personality by a strict adherence to 
form and they are not true to themselves, hence their interpre- 
tation of what is presented to them to interpret, is untrue, be- 
cause it is not and cannot be — a part of themselves. It is 
unnecessary to think how the persons who may see you would 
interpret the emotion you are interpreting. It is only necessary 
to interpret it within the scope of your own emotions and under- 
standing, to make it true because, in so doing, you have been 
true to yourself. 

Success, in any line of human endeavor, is not easily attained. 
To be a success within your own consciousness is a much greater 
triumph than to be successful without it, because the one is 
permanent and will endure forever and the other is transitory 
and illusive and finds its triumph in the popular acclaim of a day, 
a month, a year. And success is one of those attributes which 
gives happiness to oneself and others — that is the essential mis- 
sion of success. Obstacles in the pathway of success are placed 
there to be overcome and there is no obstacle which cannot be 
overcome and, in so doing, the human being who has determined 



111 



112 



THE TRUTH ABOUT THE MOVIES 



to succeed, develops the patience, the hope and the self conquest 
which are the essential elements of success also. 

It is foolish for one girl to point out her experience to others 
as a guiding star to the goal of success. Experience is the same 
in all times and ages. But each and every dramatic aspirant 
takes the same experience differently. Experience is something 
which must be lived individually and individuality follows as 
the day the night. Individuality of expression is the great desire 
in motion pictures. 

Individuality of expression requires study of Life, and 
Life is a very complicated thing. To properly express a limited 
scope of Life, which is all any of us can do, one must concentrate, 
read and study. One must throw aside one's own personal Ego, 
the selfish Ego which dwells in all of us and be prepared to take 
Life's drastic lessons without murmuring, to stand them with 
what courage and patience we can. 

Much has been written and said about personal beauty as 
one of the greatest necessities of motion picture success. What 
is personal beauty? Probably, no two persons in the world, pass- 
ing upon a girl's beauty, would agree upon it. Beauty has always 
been deemed an asset, but how can a girl determine whether she 
possesses that peculiar and illusive quality? Therefore, for a 
girl to enter pictures because she has been told or thinks she is 
beautiful is misleading at the start. In order to be beautiful, a 
girl must throw aside ideas of her beauty and, in so doing, she 
becomes beautiful because she becomes unselfish and unselfish- 
ness is beauty. 

Much has been written about talented girls also. Talent is 
a matter of hard work and self development and preparation. 
To succeed, one must love one's work and love always means 
suffering and understanding. Then a girl becomes talented 
because she has grasped at the very foundation of talent. 

Motion picture success is a strange thing. As I have said, 
it is success within one's self, which manifests itself in love for 
the audience, an understanding, in some remote degree, of the 
problems which confront those audiences and the lessons, the 
amusement, the interest which they may receive. In the dra- 
matic business, the star gives herself and himself to their public. 




¥9 



The Feeling of Rapid Success in Pictures 

L 7"0U just climb over obstacles a little more quickly, due to 



the fact, perhaps, that you have some qualification which 



has recommended you. Of course, success always makes 
you feel elated. It makes you feel that you have not made a mis- 
take, that your judgment of yourself was good because other 
people have verified it. It also makes you feel that you have 
many things yet to learn which, perhaps, those know who have 
taken longer to reach the pinnacle. Rapid success makes one 
work a little harder for fear one has missed something of great 
value. It keeps one on the qui vive, as it were. But a rapid 
success depends entirely on thoroughness of previous training. 
Probably, no success is really rapid. Something went before 
which accounts for it, something of preparation, reasoning and — 
then again, comes the thing called Good Luck. 



Is the Actress Life a Hard One 
ES, because she has to give and give and give. She has to 



give her personality, her strength and her nervous force 



to work which she loves and, because she loves it, she 
works all the harder, studying how she can make her part 
better, please herself and her director. Anything we love causes 
us trouble. Love means suffering a little bit. The mother suf- 
fers over her child. The actress suffers over her work but, if she 
is an actress, it is the only thing in life she wants to do. It is 
not easy. 







113 



CONWAY TEARLE 



Woodbury 



114 



^5 



Would You Advise Starting as an Extra 

MOTION picture acting, like any other business, must be 
learned from the beginning. Many studious hours must 
be applied and much experience must be had before one 
can succeed. 

If a person has had no previous training as a player, either 
on the stage or in a bona fide dramatic school, it is certainly es- 
sential that he or she start at the bottom — as an "extra." 

We have seen many illustrations of motion picture players 
who have tried to "skip classes" in the school of film acting and 
have endeavored to reach the top without the customary years of 
experience necessary. I can cite quite a few instances where 
players, especially actresses, have become "stars" overnight only 
to find that they could not compete with others of talent who 
have had the experience. The result has been that these players 
did not continue as "stars" very long. Some of them dropped 
out of pictures entirely. Others had the courage to forget pride 
and start all over again. Some of these latter players have 
finally won their spurs — but only after learning the art and 
going through many disappointed hours and considerable hard 
work. 

You cannot become a motion picture star without years of 
experience any more than you can become a lawyer without 
years of study. Some stars who have been called "over-night 
successes" are, in reality, anything but that. Valentino, for in- 
stance, was of this class. People said his success was instan- 
taneous. However, Valentino worked for years in motion pic- 
tures without much success. He put in his years of apprentice- 
ship and as soon as his real opportunity came along he proved 
that he was an artist. There are others whose experience has 
been similar to that of Valentino. 

While the rise of a player from comparative obscurity to the 
heights of stardom is sometimes sudden, yet if a study of that 
player's work before the camera were made it would be found 
that he or she had in reality spent many years as a player, plod- 
ding along, learning, working hard and preparing for the day 
when the big opportunity would come. 

The sound road to success in motion pictures, if a person has 
had no previous acting experience, is that traveled by the movie 



115 



THE TRUTH ABOUT THE MOVIES 



117 



extra. If the beginner shows signs of talent, he or she is soon 
picked out for small "bits," then parts, then leads and so on un- 
til stardom is reached. A star who reaches the top ranks through 
this method is there to stay. 

Such stars have the histrionic foundation to support them 
in their effort to remain at the top of the list. Artificial success 
brought about by "pull" means nothing for the reason that it is 
not permanent. No matter how great a "pull" a person may 
have he cannot receive the support of the public unless he has 
talent and no amount of "pull" will keep him there if he does 
not have the support of the public. 

I certainly am of the opinion that the only way to lasting 
success in pictures is to start at the bottom, that is, as far as 
the layman is concerned. This is the sound procedure of any 
other business or art and is applicable to motion pictures as 
much as it is to any other enterprise. 



OUTH is not needed for success on the screen. Mind you, 



I'm not urging every person whose hair is beginning to 



gray about the temples to pack their bags and rush to 
Hollywood. I'm only calling attention to a few who are decidedly 
not juvenile and yet whose success is tremendous. 

Take, for instance, Lewis S. Stone, Ernest Torrence, Hobart 
Bosworth and William Orlamond — all are very popular. Yet 
these same four have worked hard and faithfully to get in their 
present positions. Every one has earned his success. 

I think my only advice is, make sure you are right then go 
ahead. Be sure you photograph well, be sure you have person- 
ality. Go to some picture show manager in your town and ask 
him his honest opinion of your chances. But remember, it's a 
long, hard fight. 




Youth on the Screen 






118 



^9 



^9 



Is There a Chance for Everyone 

O, most assuredly there is not. It is worse than folly for 



persons to imagine that this business is an easy road to 



money, to contentment or to that strange quality called 
happiness. Motion pictures, to those who will have permanent 
success, is a medium of thought, of careful planning, of inven- 
tory of yourself. 

Everyone has personal characteristics which can be devel- 
oped also, characteristics of speech, manner, appearance and, in 
going upon the screen, one cannot be guided by the character- 
istics of anyone else. One must be true to oneself. Falsity and 
fraud are always detected even without words. Sincerity, ambi- 
tion, work, speak for themselves, silently and without words 
also. Take stock of yourself. 



Should You Start in as an Extra 

IF YOU don't start as an extra, how are you going to start. 
How can you get the necessary experience, except by wait- 
ing and watching and hoping. An extra is not an undig- 
nified person. The extra is quite as essential as the star, at 
times. If no one worked as an extra, the producers would be 
in a plight indeed. I don't think any star jumped into promi- 
nence in a day. How is it possible? Certainly, start as an 
extra. Retain your self respect, be one of the crowd, watch, 
wait and learn. You're sure to get your chance. Be one of 
the determined ones who, when others drop out, sticks and wins. 
Keep your eyes open and your brain working, learn things, study, 
take care of yourself and see what happens. 






c 



119 




Hoover 

LEWIS STONE 



120 



What Is an Actor 



*HE public might offer a number of answers but to the man 



who has known the stage and the screen intimately there 



might be a pause before the answer is given. In nearly 
half a century of daily contact with the actor back stage and in 
the dressing rooms and on the stage, and the audience out in 
front, I find that the actor and his work are really very little 
understood in spite of a large amount of publicity given them 
and their work. I find that the public has too often confused 
"types" with "actors" and on the screen especially, given recog- 
nition to men and women because of their appearance rather 
than their ability. To be an "actor" in the broader meaning of 
the word one must be an artist; not an artist at one thing but 
an artist in more ways than one. 

The actor must have poise, that natural ease with which 
he performs any task his character demands, that balance and 
understanding that comes as the result of study, careful ob- 
servation, sympathy and experience. Stage fright is some- 
thing that no actor ever entirely eliminates from his per- 
formance but no actor should justify such recognition until he 
can fit into any part gracefully and make the best of any situa- 
tion which may arise. "The show must go on" and the stage 
and screen cannot exist on apologies to the public which supports 
them. The real actor is the one who "saves the day" in an emerg- 
ency, who can double in parts because of his thorough knowledge 
of his craft — the man who can play Romeo today and Shylock to- 
morrow with equal brilliance. 

The "type" is the man who makes up to look the part; the 
"actor" is the man who can so sway your emotions with his skill 
that his make-up is of secondary importance. The real "actor" 
masters "make-up" easily and doesn't usually have to worry 
much about his appearance. 

The finest quality an actor can have is not visible — it is his 
ability to observe, to study, and to feel the parts he plays. The 
ability to understand the moods, the natural tendencies and the 
weaknesses of characters is the greatest asset an actor can pos- 
sess. No actor can give a good performance without having a 
deep-rooted sympathy for his character. 

The "actor" doesn't have to depend on his physical perfection 




121 



122 



THE TRUTH ABOUT THE MOVIES 



for his charm. His costume is of secondary importance. His 
physique and his dress may help him considerably but they will 
never save his performance — he must know his business and 
good actors, like good doctors, are only developed by experience. 

The screen player who doesn't seek stage training prior to his 
entrance into filmdom makes a sad mistake. Familiarity with 
one's profession is always his greatest power. The screen has 
no time for developing talent. It must be sure of talent that 
is available and use it as it wills. Starting in as an extra and 
working up the ladder is a better way. Motion picture "extras" 
are, for the most part, merely "types." 

What the screen needs and wants is men and women who can 
act. The situation is acute. "Types" are plentiful but "actors" 
are scarce. The fascination of a screen career has ruined many 
a man and woman who might have become a good actor had he 
or she stayed at home and sought experience in a stock com- 
pany playing many parts until a knowledge of the art of expres- 
sion, the theory of it at least, was learned. 

Thousands of young and old people come to Hollywood each 
year feeling that they have natural talent. But they cannot 
prove it in front of the camera. That's why 99 per cent of them 
go home broken-hearted. 

The best acting today is done in the various local stock com- 
panies. People fail to give proper recognition to these com- 
panies because they are local. They should give these organiza- 
tions better support. The reason the Moscow Russian Art The- 
atre and other European organizations of that character are world 
famous is because they develop actors by experience. One week 
an actor may be the leading man, the next week the villain, the 
next week a supernumerary, but when such an actor leaves the 
theatre he knows his business and that of those associated with 
him. He is accustomed to the mechanical things which sur- 
round him. He can always be at ease and concentrate on his 
character. So many would-be actors let their ego get the better 
of them. The future screen star must be an actor, not just a 
marvelous lover, a handsome looking individual. Community 
theatres will develop actors in the future and when they do the 
screen will make them offers. 




^9 



^5 



What Are the Misconceptions as Regards 

Pictures 

IN SPITE of the fact that the motion picture industry ranks 
among the biggest in the United States the public at large 
cherishes more misconceptions about it than about any other 
"big business." The man who aspires to be the head of a great 
factory, unless he happens to have some unusual "pull," either 
starts in at the bottom, or having received his first training in 
some similar branch of work wins the coveted place by merit of 
the work he has done elsewhere. 

That rule holds good for screen aspirants. Occasionally 
"pull" will find an opening that boosts the new-comer over the 
rank and file and if the ability to act is there, too, plus the ap- 
peal known as "screen personality," a new star will arise. But 
this is the rare case. 

Of the hundreds of men and women who have passed through 
my studios, seventy-five per cent of the stars broke into the 
picture game as "extras." They learned the ropes; they knew 
the disappointments and the difficulties of long hours, small re- 
turns and hard work before their chance came to prove their 
mettle. One day they were picked for some "bit." If they 
proved themselves real screen material in the hands of the di- 
rector they soon found thmselves in line for bigger roles and 
then the public had the chance of stamping them with approval 
or disapproval. 

A director or producer may pick stars and give them oppor- 
tunities but in the end it is the public which approves or disap- 
proves them by box-office response. And public approval gen- 
erally comes after a long, hard course of training in the ranks 
of the screen or stage world. 




123 




RUTH ROLAND 



124 



^5 



Personality and Concentration 

FTEN I am asked what I consider the real secret of suc- 



cess. My answer can be given in two words — "person- 



ality" and "concentration" — the real secret of success in 
any line of endeavor. But especially is this true of a motion 
picture star. 

To be a success in anything, one must first decide just what 
one would prefer to be, and if the choice should be "Movie Star," 
then the prospective "star" must seriously consider all her own 
strong and weak points, to decide whether she has the ability 
or is capable of becoming an actress. If this decision is favorable, 
then begins the real work. 

Concentrate on this thought day and night, work for it 
always, and never lose sight of the goal, for who knows, it may 
be just around the corner where you can't see it. Don't give 
up after a short time and change, say you're going to be a direc- 
tor, a scenario or continuity writer — stick to it no matter how 
dark the way may be. Make every thought you think, everything 
you do, bring you that much nearer, and whatever you may do, 
concentrate on it — give it your whole, undivided attention. For 
one small thing, done well, is worth a hundred half-done — one 
small diamond without a flaw is worth many imperfect diamonds. 

Gold seldom lies on the surface of the ground. To get to the 
pure gold — the real success of life — one must dig, and dig deep 
and continuously, for nothing can be obtained without labor in 
any field of endeavor. It is not enough to say, "I am going to be 
a movie star" and then sit back with one's hands folded waiting 
for success to come. Rather should one go out, meet success and 
conquer it. 

And success can never be conquered without one hundred per 
cent concentration. Audiences often wonder why an actress on 
the legitimate stage is unconscious of her audience, as individ- 
uals — why she cannot pick out her friends in an audience when 
she is seemingly looking straight at them. But this cannot be 
done if the actress is concentrating on the character she is por- 
traying. If she gives, say twenty-five per cent of her thoughts 
to her audiences, and perhaps twenty-five per cent of her thoughts 
to some particular friend in the audience, then she is giving only 




125 



126 



THE TRUTH ABOUT THE MOVIES 



fifty per cent of her thoughts to her work, hence is receiving only 
half the success she should have if she gives her undivided atten- 
tion to her work. 

If this be true of the stage, it is much more so of motion 
picture work. An actress before the camera must forget that 
there is a camera, or that anyone is standing around, even behind 
the camera. She must concentrate one hundred per cent on the 
role she is playing, and must live and be that character for the 
time being, putting her own personality into that of the charac- 
ter, and put it over in such a way that her audience, though 
thousands of miles away, can really feel that personality as 
flashed on the screen. 



FTER you get your opportunity, then your trouble com- 



mences. The development of opportunity is what counts. 



A knowledge of the picture business comes by experience. 
Experience is gain every day, large and small. Learn some- 
thing every day. Don't be peevish and irritable. Wait and prac- 
tice waiting. Opportunity never comes by planning. It comes 
through another source. Always be calm and clear in youi 
mind and, when you are called, be sure you're chosen. If you're 
not, it's your own fault. Never blame the other fellow for your 
failure. You will spend a lifetime doing that. 




Develop Your Opportunity 





^9 



^9 



Personality and Talent in Photoplays 

me there is but one standard by which to judge the value 



of the personality and talent of motion picture players. 



That standard concerns the relative manner into which 
these players bring the mind into play during the creation of 
their screen interpretations. 

Through experience we learn the movements of the body, 
arms and legs which go with various emotions. And we use 
these movements to the exclusion of all other means of ex- 
pression. 

It is my contention that the personality of the player can 
never get its chance unless that player makes it a habit to 
throw his mind as well as his body into the part. His thoughts 
for the moment should be strictly those of the character he is 
portraying. Then and then only will there be the proper expres- 
sion in the eyes, without which all the physical motions in the 
world are worthless. 

The public is interested in a player's personality purely in 
relation to the manner in which he interprets the characters he 
is given. The player who relies only on physical tricks cannot 
long hold the public — for physical tricks lack soul. 

Personally I believe so thoroughly in the eyes as the medium 
of getting over personality that I have shorn from my technique 
every physical motion that is not absolutely necessary. You can 
do more with the little muscles around the eyes, the corners of 
the mouth and the shoulders than with all the rest of the body 
put together. 





127 



hdwxn Bower Hesser 

JUANITA HANSEN 



128 



¥5 



¥8 



Essentials for Screen Success 

PERSONALITY, study, training and experience are four pre- 
requisite essentials to screen success which I place above 
physical attractiveness. 
By personality I mean the subtle indefinable something which 
seems to pass from the player to her audience, and seems to 
link both together as integral parts of the unfolding drama, that 
power which unconsciously makes the looker-on feel himself a 
character in the play himself. 

A musician has the notes of the musical scale and by 
constant practice and study learns to control them. The^e 
is no other way. Paderewski himself practices six to eight 
hours a day. A screen actress must understand by practice all 
the notes of the emotional scale and by constant practice learn 
their control and use. 

You can no more expect a life-like portrayal of a specific 
character moving in a given environment as laid down in the 
script, without training and experience, than a masterpiece in 
actual test to be the unusual "photographic type." Beauty alone 
cannot obtain, even though it be shown by color from a novice 
supplied with paints, brushes and canvas. 



What Are the Qualifications for Screen Success 
\ NE of the peculiarities of the motion picture business, and 



in the entire stage profession is its total lack of any stand- 



ards by which it may be measured. The success of an ac- 
tress depends largely upon the public mind — which is so often 
fickle. The personality of the player, their training, their natural 
talents, their physical attractiveness combined with the trend 
of public taste or the fad of the moment — all these things play 
an important part in the making or breaking of an actor or 
actress. ^ — ) 






129 




130 



^9 " ^9 



Is There a Chance for Everybody 

LIFE simply means experience and to know Life one must 
know experience. Motion pictures is not an easy busi- 
ness. Each one of us has to make an individual success. 
We cannot make a success except by being ourselves. Imita- 
tion is never success. We are always poor counterfeits of a good 
original. I believe that there is an opportunity for everybody in 
this huge business. Of course, there are a good many pitfalls 
and stumbling blocks but those occur in every walk of Life; in 
fact, they make Life. Without them, we would die of boredom. 
After a year, if you haven't succeeded, don't give up. You've 
made up your mind to succeed in pictures. Success is made of 
grit, hard work — when you get the chance — a keen, quick moving 
brain, a smile that never dies and, of course, some talent. One 
doesn't have to be a Sir Henry Irving to succeed. One has to be 
prepared to be inventive, to obey instructions, to take the bad 
with the good, and, finally, after they've tried you and put you 
through the jumps, they come to the conclusion that you've got 
something in you and you get your chance. You've arrived. 





A Formula for Screen Success 

WORK would be my formula, if anyone asked me. And 
that formula holds good, no matter what department of 
the picture game you have entered. 
I know that it may sound like a harsh criticism, but it is the 
truth that there are a lot of people in pictures, and a lot trying to 
get in, who seem to think that a pretty face and a pleasing per- 
sonality will get them by. 

The motion picture business is highly specialized in every 
department. A bluff won't work. You must know your stuff 
and be prepared to deliver it. And you must also give it with- 
out stint — without thought of the hard, grinding effort and 
often-times long hours. 

131 





Edwin Bower Hesser 
BETTY COMPSON 



132 



^5 



Not a Life of Ease 



HE life of an actress is often held up as a model of ease. 



I think that every girl who aspires to be an actress because 



x "it is an easy life," should know the truth. The work- 
ing day of the average actress — and there are six working 
days in every week, and often seven — begins at 7:30 a. m. 
By that hour she must be at the studio and in her dressing 
room, and beginning the long and tedious process of "making- 
up" with the assortment of creams and cosmetics required for 
the proper photographic effect. 

By 9 a. m. she must have reported to her director, and from 
then until noon she appears steadily before the camera, depict- 
ing emotions which, in many cases, are extremely trying. 

Often during the noon hour she has only a hastily procured 
sandwich because she must pose for "still" pictures. 

From 1 until 5 o'clock she continues to work before the 
Camera, and many times this is prolonged far into the night. 

On days when she is not appearing before a motion picture 
camera, every hour is occupied. Scenarios must be studied, 
gowns fitted, "still" photographs taken, mail must be answered, 
besides appearing at necessary social functions. 
If that constitutes "a life of ease" I apologize. 



Is the Motion Picture a Means of Livelihood 

HE motion picture is a means of absolute livelihood to me. 



In fact, if you make it a side issue, I do not think you can 



succeed because you must give it your all or nothing. It is 
not an easy road to success. No road to success is easy but, at 
least, there is more interest and fascination in it than anything 
I know. It means lots of hard work and lots of sleep — all you 
can get — and taking care of yourself, as much as you can, above 
all, motion pictures are not a plaything, a recreation or a pastime. 






133 




HUNTLEY GORDON 



134 



^9 >fe 

Coming to Hollywood Prepared 

I DO not want to discourage young men from seeking screen 
careers, for the screen needs leading men who can act. 
But I would certainly advise young men who think that 
they would like picture work to weigh well the hard work side 
of the question before boarding a train for Hollywood. 

If you have insufficient money to finance you through months 
of work-hunting. 

If you are unwilling to start with very small parts, obtained 
at intervals. 

If you lack personality to lift you out of the "extra" class 
after a few chances. 

If you think that the screen offers an easy chance of making 
big money. 

A screen career can only be bought with ability, work, pa- 
tience and similar talents. It means hard work — sometimes long 
hours. The favorites are men who have personality. 



Value of Self Control in Pictures 

IN no other business is self control so desirable as in motion 
pictures. The things which come up in the course of one day 
to test that necessary self control are innumerable. The 
long waits, the inspiration which was with you early in the 
morning but which has left you, the necessity of summonsing 
it again, the doubt, the sometimes lack of self assurance and con- 
fidence; all these things and many more require an iron self 
control that is extremely difficult to acquire. But once acquired, 
it remains. Then smile no matter what happens. Others don't 
know the secret difficulties that weigh you down and they don't 
want to, unless it is a friend of long standing, tried and true. 

I should say that self control is the most valuable asset that 
anyone could have in any walk of life. 



135 




Pa 

AGNES AYRES 



136 



Advice 



IT takes nine tailors to make a man, according to an old comic 
opera, but what shall be said of the girl who enters motion 
pictures ? 

Nine hundred dressmakers cannot make her an actress ! 

Clothes, to be sure, are a valuable help to an actress on the 
screen, but unless she has dramatic ability and a sense of wear- 
ing clothes, she will not continue long in the public favor. 

Every actress responds to the clothing she wears — if it is a 
simple dress, she will reflect the personality which would wear 
that kind of dress. If it is an elaborate evening gown, she will 
respond to that one also. 

But the art of acting does not lie in the dress, it is in the 
actress. It is her own personality which responds and which 
makes her an actress. It is her ability to assimilate a character 
that makes her successful in wearing clothes fittingly. 

The more an actress knows about other things than the pro- 
fession she has selected, the better actress she will be. 

If she has a knowledge of costuming, of art, of music, of 
literature, she will be a better actress, for, in the final analysis, 
it is the woman of refinement and knowledge who will be able 
best to portray the many different roles she is called upon to 
interpret in the course of a career. 




137 



Paramount 

CHARLES DE ROCHE 



13S 



^5 



The Movie Bread Line 

IN ALL great cities one may see a "bread line." Sodden, hope- 
less and dreary eyed men and women, who watch the wheels 
of life revolve around them and realize that it holds nothing 
for them — but a "bread line." They spend dreary days and 
drearier nights with Despair for a companion. Doorways and 
park benches are their homes and, in their hearts, Hope, that 
steadily burning flame which warms and comforts, has slowly 
died. They make no effort to conceal their condition. They 
are simply wreckage drifting in the cruel and stormy ocean of 
life. 

But there is even a more tragic bread line than that of great 
cities, the movie "bread line." Here, despair and the death 
of hope are made even more tragic by a sunshine that is per- 
petual and a beauty of nature that is unsurpassed. One may 
see this "bread line" in the vicinity of all great studios. It is 
composed of men and women and, even, of young girls who 
wait and spend their lives in waiting — for something that never 
seems to come and their tragedy is intensified because each day 
holds a promise and each night holds — despair. They are wait- 
ing for extra work, perhaps a mob scene in motion pictures. 
Once their hearts were vital with ambition. Once they dreamed 
dreams, until life slipped away from them and they cannot re- 
call it. 

The pity and the irony of it is that this "bread line" must 
lighten the face of despair with the forced smile because in the 
amusement business tragedy sometimes takes the form of com- 
edy and must always take the form of prosperity. They must 
look well fed on starvation's diet. They must look well dressed 
in clothing that has become green with custom. They must 
exchange joke and jest while their hearts are slowly breaking 
and they must take a pittance, when once they had thought to 
receive the applause of a world. 

Where did they come from ? From all parts of the world. To 
some of them, life held out a hand of promise — but that was years 
ago. To others, life never made a promise. Sometimes, their 
hearts are heavy with hate but they are always heavy with 
despair. Then, suddenly, comes the rekindling of the fires of 

139 



140 



THE TRUTH ABOUT THE MOVIES 



hope. They are "called" for tomorrow. It is a "mob" scene in a 
great European spectacular picture. That night, they examine 
with solicitude and care, eyes that have grown bleary with tears, 
shed and unshed. With minute exactitude, they examine fea- 
tures upon which the hand of disease and starvation has plainly 
written. They brush, once again, the moth eaten clothing and 
assume that appearance of carelessness, which brings tears to 
the eyes of those sympathetic souls who know and understand. 
Perhaps, the director will see them and detect the ability which 
they think they have. Perhaps, their chance has come. 

All day they have stood in a costume which medieval knights 
wore. All day long they have watched for the glance from the 
director, as he yells at them from a platform above. All day they 
have tried to imagine the gallantry and heroism of past ages in a 
costume which accentuates their misery and publishes their 
despair openly. Hour by hour, they have watched the sun go 
down, faint with a heat which has burned them. Hour by hour, 
with the setting of the sun, their hope has set and the tear 
which must not be shed is close to the eye which cannot shed it. 

With weary hearts and wearier bodies, they slowly remove the 
costume of some heroic knight. Slowly they don the clothing 
with which they adorn the "bread line." Perhaps some kind 
soul will "give them a lift" towards the home which they do not 
possess. And they clutch in hands made tremulous by mental 
anguish, a five dollar note, perhaps only three dollars, the pay- 
ment of weeks of waiting and of hope. 

That night, in solitude, they recall and try to adjust. Once 
again, they examine the features made sharp by a laughing de- 
spair. Once again they try to summon to eyes made heavy by 
unshed tears, the floodgates of emotion burst, in secret place 
where none can see them. And always, life goes on, mocking 
a great tragedy, their tragedy. Tomorrow may be the great day. 
They try to make themselves believe it but a still, small voice 
mocks them and they know that, for them, life is over. 

There are thousands of these wrecks in the movie "bread 
line." What secret springs prompted them to condemn them- 
selves to the husks of life no one can tell. 




¥5 



Pictures as a Profession 



IF I had to make my fight for screen success all over again, 
I'm afraid right now I would be just the daughter of an 
electrical engineer, going to a picture show in the evening 
and sewing or reading throughout the day. 

Honestly, I cannot urge anyone to take up pictures as a pro- 
fession unless they are unusual to an unbelievable degree. I 
have been since 1918 making what little success I have now, and, 
believe me, I can truthfully say I have earned what I have. 

But still, remember what T said about being an unusual type. 
Many types are needed. If you think you are unusual and have 
a screen personality, come ahead, but don't come until you abso- 
lutely make sure. Send your pictures first to the studios and 
see what response you receive. 



Are You Seeking a Living on the Screen 
NLIKE a great many girls, I did not seek a career on the 



screen from any motive of wanting to earn a living. I 



^""^ gave up a rather useless life of ease because I felt that 
I had an ability to express myself on the screen. 

Clinging to that belief, I went to the studios looking, not for 
a meal ticket, but for a chance to show what I knew I could do. 

The chance came. I did not fall right into fame. Neither did 
I languish and grow pale waiting. 

Looking back on my experience, I think that my advice to 
girls seeking a screen career would be to wait until one had 
sufficient money to enable one to seek — not a job, but a chance 
to show what one felt one could do best. 

If the desire for self-expression is strong enough, it will find 
its expression. \ ~\ 






141 




Edwin Bower Hesser 

ORA CAREW 



142 



¥5 



Are You Qualified 

MANY, many times, I have been asked for my opinion as 
to what is essential for a girl's success in Motion Pic- 
tures. I will offer the following requisites which are, to 
my way of thinking, absolute necessities for one whose goal is 
stardom, ever elusive in the achieving and which is reached by 
but few. Have you the following requirements, which I call: 

THE TEN DEMAND-MENTS 

(1) You must be a thinker; (2) you must be talented; (3) you 
must be attractive; (4) you must have individuality; (5) you 
must have a creative mind; (6) you must be courageous; (7) 
you must have stick-to-itiveness ; (8) you must be graceful; 
(9) you must be the right size; (10) you must have finance (to 
take care of yourself pending employment) . 

If a girl has these ten indispensable qualities, then she need 
have no fear about gaining her proper place in the profession 
to which she aspires. i ^ 

vVa^ L^arttoO — 

>fc >K H 1 



Charm Plus Ability 

KEEPING good company is an aid to good looks. Good 
looks are an aid to success on the screen. 
It is a well-known axiom that beauty is as beauty does 
— but I could also say that beauty does as beauty is. 

It is by selecting the kind of people who have beautiful ideas, 
who live beautiful lives and thus are in themselves beautiful per- 
sonalities, that the screen actress will assimilate a beauty of per- 
sonality and thought which will make her charming in every way. 

And charm is the first step to success upon the screen. It 
is what the public demands — charm plus ability to act. 



143 




Edwin Bower Hesser 

COLLEEN MOORE 



144 



^9 



^9 



\ 



Flappers and the Movies 

LL movie fans — among the ladies — are not flappers, but all 



/A flappers are movie fans. 

Some of our greatest directors and stars may trace 
their success to the fact that they have the following of the 
vast army of American flappers. 

In characterizing the flapper on the screen I have always 
endeavored to show that underneath the ultra-modern veneer of 
the flapper there beats a heart as stout, as sympathetic and as 
human as in the bosom of the quaint old-fashioned maid of our 
grandmother's time. 

Many motion picture players and directors think that the 
flapper is the most appreciative of all classes of screen audiences. 
It is contended that she is more keenly sympathetic, more in 
tune with the emotions of the players and alive to the causes for 
these emotions than any other type of movie follower. 

The fact that the flapper is a movie fan is entirely natural. 
Motion pictures are the popular thing. Flappers patronize the 
popular thing. If motion pictures were out of date the flapper 
would have nothing to do with them. Just as the matinee idol 
of the old-fashioned melodramatic stock companies were the 
rage among girls of former days, so our modern movie heroes 
are the rage among flappers today. There is nothing unhealthy 
or off color in the flapper's attitude toward the movies. The 
color, the fire of youth, the natural beauties and the romance 
of the movies gives the flapper the entertainment that appeals 
to her age. Our grandmothers when they were girls would have 
thrilled at motion pictures in their day had they had them, just 
as the flappers enjoy them today. 

The following of the modern girl — and the modern girl hap- 
pens to be the flapper — is a great goal of any enterprise. The 
loyalty of the flapper is something a motion picture player or 
director can well be proud of. I can name a dozen players whose 
popularity is entirely confined to the approval of flapperdom. 





145 




Edwin Bower Hesser 

MARION DAVIES 



146 



¥9 



My Most Interesting Experience 

scene that I have ever played has been as thrilling or as 



significant to me as that enacted on the parade ground of 



~ Plattsburg Barracks when I was appointed an honorary 
colonel of the 26th Infantry. I had gone to Plattsburg to appear 
in several patriotic scenes for my new picture, "Janice Mere- 
dith." The battle of Trenton and the crossing of the Delaware 
were screened at Plattsburg and the men of the 26th Infantry 
played the parts of American Soldiers. 

To be honored by the men who fought at Cantigny and later 
assisted so effectively in driving the Germans out of St. Mihiel, 
is an experience that I shall always hold dear to my heart. 
The ceremony took place on the historic parade grounds of the 
Plattsburg Barracks, and the soldiers were drawn up in regi- 
mental formation as Colonel J. M. Graham bestowed upon me 
the silver eagles of the rank. Later the enlisted personnel of the 
regimental pinned upon me the "Mohawk Arrow," the private and 
personal insignia of the 26th. I was also decorated with the 
fourragere, the shoulder decoration of all members of the First 
Division of the A. E. F. Entitled to review the regiment, I 
marched on the parade ground accompanied by Colonel Graham 
and his staff. 

I felt a patriotic thrill as I beheld the ceremony of a regi- 
mental review with the veterans of two wars marching by with 
beautiful precision. It reawakened in me martial memories — 
memories of boys marching down Fifth Avenue in the spring 
of 1917 on their way to France. 

This honor reinforced a pride that is mine in making a 
picture that has such a historic and educational value as "Janice 
Meredith." It made me appreciate the splendid co-operation that 
motion pictures have in the United States Government. It made 
me feel the significance of motion pictures and that the govern- 
ment is big enough to recognize their value. 

I worked in this production more than five months and this 
association of great characters of American History has had an 
effect of making me live in the stirring days of 1776. 




MARION DAVIES 



147 



BETTY FRANCISCO 



148 



¥5 



Patience an Essential in Motion Pictures 

INTELLIGENCE is necessary to grasp and realize your op- 
portunity. Talent is, of course, necessary, but, probably, 
of all the virtues essential to success in any walk of life, 
patience is the most desirable. Granted that you are equip- 
ped with the other attributes, it then becomes a question of 
waiting, quietly and easily and calmly, for what you know will 
come — eventually. If you become doubtful of yourself, others 
will become doubtful of you. If you exhibit nervousness and 
lack of decision, others will catch these qualities. If you are 
irritable and very desirous of forcing the issue, that is just the 
time that you will be forced to cultivate and learn the value of 
patience. Patience does not mean that the motion picture as- 
pirant should sit and wait, expecting the gifts of the gods to be 
dropped into her lap. But, everywhere she goes, she must cul- 
tivate the gift of patience, the great quality of being able to 
wait, after having done her human best to try and find the 
opportunity. Patience is self control. Patience is the proper 
distribution of your nerve force which is also the success force. 



OW few of us ever pause to analyze this mysterious thing 



called success. I would say that success is the realiza- 



■*£ tion of some object one has sought to attain, provided 
the original object is worthy of attainment. Certainly, a dra- 
matic career successfully accomplished is a very great success. 
It affords diversion, gives room for versatility, demands hard 
work and the numerous stumbling blocks breed strength. In 
this profession, all the essentials of effort, of patience, of wait- 
ing, of smiling under difficulties, constitute success if one can 
cultivate these wonderful qualities. 




What Is Success 





149 




Witzel 

LILLIAN RICH 



150 



^9 



Is Bluff Necessary in Pictures 

HAT is known as "bluff" is merely self assurance. The 



ability to impress your personality upon others is al- 



ways essential. It does not mean braggadocie, boring 
other people or inflicting yourself upon them. It is the ability 
to grasp your opportunity, to know there is nothing you can't 
do — if you try — and then do it. If horsemanship is required, you 
must be a horsewoman; that is, seat yourself on the back of a 
horse and stay there. Of course you may take a tumble. You 
may be a bit sore and stiff, but you must come up again — 
smiling — remount your steed and stick there, despite all ob- 
stacles. You may be called upon to play a part in which you will 
be required to be an expert in using skis. Now, probably, you 
have never seen a ski, unless it was in a news reel. Neverthe- 
less, you put on a pair of skis, utter a mental prayer, and start 
off. That's the secret. If you believe you can do things, you 
will do them. It is faith, hope and self assurance which win. 



OUTH is the Springtime of Life. It is that happy time 



when we have our illusions untouched, when we see 



with eyes of inexperience, beauties which make Youth 
the gift of the gods. The world loves Youth and worships at 
its shrine. You can retain it always — in your heart. Youth is 
a mental attitude, which reflects itself on the outside. You 
have it. You can retain it — no matter what happens. Some- 
one has said, "This is the age of Youth." Every age has been 
the age of Youth because, in reality, there is no age, only the 
age that men and women make for themselves. 





What Is Youth 





151 





Edvnn Bower Hesser 

BLANCHE SWEET 



152 



^9 



Is It Just Fancy or a Means of Livelihood 

IN no instance, during my years of association with motion 
picture work, have I ever met a person who took a motion 
picture career as a fancy. 

To many persons around Los Angeles, motion pictures mean 
a form of livelihood that carries with it a romance such as no 
other industry affords. There is not one person in the creative 
end of this art who does not possess a flame of inspiration to 
excel. The great possibilities held out to brains and talent is 
fully appreciated by everyone from the humble "extra" to the 
greatest director or star. 

Among the ranks of the motion picture players are society 
women of wealth, foreign nobility and others who do not look 
to the films as a means of livelihood but as an art, a profession 
that holds out to them unusual opportunities to accomplish 
something worth while. 

In picturing the use of various individuals in the profes- 
sion, some writers have dwelt at length, on the romantic phases 
of their careers. They have painted pen pictures with splashes 
of color. This has frequently tended to give the impression 
that we are "play-actors/' having lots of pleasure and little grief. 
The disappointments, the hard knocks and the hard work is fre- 
quently omitted from these pictures. High-lights of a positive 
nature are embellished while the negative side is omitted. 

A motion picture career, to many, is essentially a means of 
earning a livelihood but as soon as this is achieved there is 
something greater, something more inspirational, that carries 
one on. A number of stars appearing in pictures today are 
wealthy — at least, they could retire and live for the rest of their 
lives in a normal way without further income. They do not 
look upon motion pictures as a means of earning a livelihood. 
Nor do they continue their careers as an idle fancy. If anything, 
they work harder to accomplish still greater thing's. Fre- 
quently they make pictures that they know will not prove a great 
financial success but they do it because they feel they can con- 
tribute something worth while to modern life, something that 
will prove an artistic achievement, and something that might 
make this world a little better as a result of their efforts. 



153 




154 



THE TRUTH ABOUT THE MOVIES 



155 



While essentially, many enter pictures with the idea of mak- 
ing a livelihood it is not long before they become inspired to ac- 
complish something. There is no other business in which even 
the lowliest is so fired with ambition to get ahead. Even those 
who from all appearances are in a rut and are satisfied to merely 
earn a living, are in reality striving, studying and waiting for 
an opportunity that will lift them out of the ranks. There is no 
such thing as lack of serious ambition among motion picture 
players. 



One Must Love Their Work 
OVE for one's work is the principal asset of success. From 



the quality of love flows interest, enthusiasm and that 



other most valuable quality, patience and the ability to 
wait with a full knowledge of your ability, hence, your ultimate 
success. No one can make a success in any line of human en- 
deavor 4n which he or she is not really, truly and deeply, very 
deeply, interested. It then happens that, ahead of the obstacles, 
one sees the goal and knows that it is there. There may and 
will come moments when your faith in yourself wavers, but 
those moments pass and, once again, you come back to where 
you started before the purely human emotion of doubt and fear 
assailed you. To succeed in dramatic work, a girl must have 
those natural and beautiful qualities of soul and heart which 
reflect themselves outwardly. No one is interested in your sighs 
save those who are near and dear to you, but the world is greatly 
interested in your smile. Study motion pictures. Make them a 
hobby. Go to your theatre seriously and not alone to admire 
and, perhaps, love your favorite leading lady, but to gradually 
gain the secret of her success, which, in the final analysis, will 
be love for her work and that disposition which does not know 
failure and is willing, at all times, to smile and to work for the 
goal she has set for herself. 






Edwin Bower HesSet 

GERTRUDE OLMSTED 



156 



¥9 



To Know Whether You Will Be Successful in 
Pictures Before Entering the Film Colony 



SO MANY of you who are desirous of following an artistic 
career on the screen are undoubtedly qualified to do so. To 
the contrary, perhaps, many of you are not. The appren- 
ticeship which must be served by every true artist has been the 
cause of thousands of heartaches ; therefore, why subject your- 
self to something you know to be unpleasant unless you are to 
be compensated in the end? 

Before you enter a film colony to embark upon a screen 
career try to make a self -analysis. For instance — 

Have you a distinctive personality? Severely criticize your- 
self and determine when you are at your best. Then see if 
you can be classified as a certain "type" — such as, quaint, soul- 
ful, picturesque, sparkling, fashionable, etc. If you are "dif- 
ferent," then you have one asset. 

Can you meet people gracefully? Know whether you are 
able to converse brilliantly and appropriately with anyone upon 
first meeting. Be sure you are not awed by influential people 
whom you must impress. 

Have you photographic value ? Have good photographs made 
by a photographer and well examined by friends of supreme 
judgment. Study the contour of your face — the shape and 
size of your nose and mouth — the color of your eyes. Your 
eyes must be expressive and your mouth sensitive. Be severe 
in your criticism and you are bound to be accurate. 

Have you grace and ease? If you are ill at ease in public 
and become awkward and stiff you must make every effort to 
overcome it. Try to get a small part in a local stock company. 
It will give you practical dramatic training and experience in 
self-possession, one of life's most important requirements. 

In a word, intelligence, will tell you whether or not to invest 
several years of your life in sincere preparation to a life of 
make-believe. Be honest and fair with yourself and the world 
will be honest and fair with you. The tiny hurts will seem 
tinier because of your bigness and the great success will seem in 
proportion. ~ r 




157 



¥9 



Stars May Be Born— But Must Be Educated 

STARS may be born — but they have to serve apprenticeship, 
the same as a worker may be born with a natural aptitude 
for mechanics, but still must go through the painstaking 
routine of learning to handle his tools. 

Consider Henry Ford's automobile factory. Can you, by any 
stretch of imagination, conceive a boy who never had a tool in 
his hand walking in and taking charge of a machine for boring 
cylinders ? 

Still, every day we have young people applying at our gates, 
expecting to be taken right in and assigned to leading roles. It's 
just as absurd. 

Natural acting ability is essential in this business — but so is 
knowledge of the tricks of the trade. And these have to be 
learned. The only way to learn is to start at the bottom — 
a long process of extra work at low pay. We can't do anything 
else for the screen aspirant. It would be impossible for Mr. 
Laemmle to make a star over night — it's up to the star to make 
herself — by learning the business. When we assign an actress 
or an actor to a director, that director expects, and has the right 
to expect, that the person is competent to do what is called for ; 
to know the business of acting. The director has no time to be a 
teacher. 

So the best advice I can give to an aspirant for a picture 
career is this: 

Unless you have enough money to live on for at least a year, 
regardless of what work you can pick up, or unless you are as- 
sured of a living job here outside of the picture industry — don't 
come to Hollywood. It is a tragedy — the hundreds of people who 
come here, with their last cent, expecting to make a fortune 
over night — find themselves stranded. 

There is no royal road to fame — it means work — and work, 
even as an extra, is sometimes very hard to get The employment 
situation in Los Angeles, outside the picture industry, is not 
good, and there are thousands of jobless people in all lines. In- 
cluded are many experienced actors — so what chance has an 
amateur, except at the bottom of the ladder? Your own com- 
mon sense will give you the answer. 

158 



THE TRUTH ABOUT THE MOVIES 



159 



A worker can't get a good job in Akron without a knowledge 
of rubber factory work; can't get a good job in Detroit without 
knowing the automobile business; can't get a good job in pic- 
tures without knowing the picture business. 

This is not meant to discourage the screen aspirant — but just 
to tell the screen aspirant the plain, unvarnished truth. 

If you have enough money to live while you learn — or have 
assurance of a job here that will support you, you may be able to 
succeed in screen work. Start at the bottom — if you are as good 
as you think you are, gradually you will get parts — and perhaps 
attain stardom. Then again — you may not. The majority fail. 
Real stars are very few and far between. 

In other words, if you can afford to come to Hollywood and 
work for little, learn the business, and serve an apprenticeship 
that won't support you, you may be justified in trying it out. If 
you can't afford this — stay at the job you have. 

And, if you do come here — don't let a fake "movie school" get 
your money. There is no "movie school" that can do you any 
good except the studio — where you start as an extra and don't 
pay for "instruction." Experience is your only teacher — and 
the rest is up to you. No one can help you but yourself. 




* * * 



Does the World of Make Believe Pay 

IT PAYS in satisfaction, the achievement of something one 
has set out to achieve. It pays in money, which is the legiti- 
mate and very necessary reward for achievement, and it 
pays, above all, if one can make the world laugh, smile, grin or 
even giggle. 




RICARDO CORTEZ 



160 



^5 >fe 



A Hard Game 

THE motion picture game is one of the hardest in the world — 
in few fields of endeavor are the demands so exacting. 
At the very outset is tremendous competition. Every- 
where young people believe they have the gift of acting before 
the camera and, as a result, the producers and directors have 
been compelled to raise barriers to eliminate the unfit. These 
barriers are the first obstacle the screen aspirant must overcome 
before he may enter the circle of "possibilities. " 

Unless the young actor has a clear idea of the work, he will 
stumble in his very first part. Often he believes that the first 
chance, the entrance as a "possibility," means that he is secure. 
This is a dangerous thought to encourage. The first "bit" in 
pictures has turned the eyes of many promising young people 
from thoughts of study to a craving for applause. 

Another danger in the false sense of security is the desire 
to "make a splash." The young actor is tempted to spend much 
money on a fancy wardrobe; he buys a sport car or a house of 
many rooms. All this extravagance is based upon the belief 
that, having made an entrance in pictures, he will never be shown 
the exit. 

The aspirant must remember that each part he plays means 
a building up of his technique — he is studying fundamentals and 
is still many miles from stardom. 

As his roles increase in number and importance his responsi- 
bilities grow in the same ratio. With each production he is 
expected to become more proficient. Having gained a foothold in 
the game and made an initial success, he must study harder for 
greater parts. The wider his popularity the more conscientious 
must be his work, for, in the final analysis, he must never disap- 
point the public which makes and unmakes screen stars. 



161 




Edwin Bower Hesser 

CLARA BOW 



162 



^9 



^5 



What Are the Essentials of Success 

one who complains, moans and pities herself ever suc- 



ceeded who has not felt success within herself. We real- 



ize, outwardly, just exactly what we realize inwardly. It 
is an infallible law. Success does not depend on others. It de- 
pends on yourself. Success is a matter of concentration and of 
knowledge, and, having acquired these wonderful attributes, you 
will find that obstacles will remove themselves almost automat- 
ically. Life is not nearly so hard as men and women are fond 
of imagining it to be. They make it hard by their thought. 
They imagine that all men and women are selfishly trying to reap 
benefits at their expense and, naturally, in face, feature and, 
above all, in that peculiar law of thought transmission, they 
throw out qualities of distrust, selfishness and general doubt 
themselves. Learn to think and to realize the power of thought 
because, in exterior personality thought is absolutely manifested. 
Learn to take obstacles as wonderful lessons in the experience 
all of us have had and must have. No human being has ever 
escaped them. No human being ever will escape them. This 
life is one beautiful and. wonderful struggle. In that struggle 
one loses boredom and interest comes. What success is success 
unless we struggle for it? Of course, you must have a certain 
beauty of face and form, but the beauty that lies within you is 
much more important. Improve your soul instead of giving so 
much attention to your body and see what happens. 





163 




Hoover 

WYNDHAM STANDING 



164 



^5 



Does Perseverance and Determination Win 

PERSEVERANCE and determination can and have con- 
quered worlds. In the vocabulary of the man or woman 
who has determined to succeed there is no such word as 
failure. Find out why you wish to enter pictures. Define your 
reason in your own consciousness, irrespective of the advice of 
friends, relatives or anyone else. If you have that intuitive 
call for dramatic art you will recognize and know it. Every 
man and woman has a calling in life. If yours is motion pictures, 
the chances are good, in fact, never better. 

If you have the desired qualifications, and these include 
beauty of face and figure, and above all youth, go forward, start 
now on the road that leads to success, always remembering 
that "Youth flies with feathered feet." 



Is it Hard to Break into Pictures 



NOT if you are properly equipped. When you're NOT 
working, continue working. That, is, you're always 
doing a picture even if only in front of your mirror. 
If you had to go through half what the men who have founded 
motion picture enterprises have gone through, you wouldn't con- 
sider yourself badly treated. If you are determined to try pic- 
tures, go ahead. No one can stop you. You know that. In a year 
you may be a star. In a year, you may be just exactly where 
you started, but, in any case, you've had a lot of wonderful 
experience that will either make or break you. If it breaks you, 
you weren't very strong at the start. If it makes you, you had 
the stuff. Try it. 




165 




166 



^5 



^9 



Character Analysis for the Screen 

IT IS impossible to write a complete statement of qualities 
which, combined, make for success upon the screen. 
No two successful screen players have the same abilities. 
Some are hard working, some are lazy. This one works intelli- 
gently. The next one works instinctively. 

There is one quality, however, which so many have that it is 
almost a necessity. It is the ability to make one's self liked. 

If you are ambitious to become a screen player, the first ques- 
tion you should ask and answer honestly is this : "Am I popular 
with my set?" 

If you are not, then there is little likelihood you will succeed 
in being popular with the millions of theatre-goers whose patron- 
age spells success. 



In What Does the Fascination Consist 
EEMINGLY, the fascination of motion pictures exists per- 



enially. Once having experienced success in this art, it 



is difficult, even impossible, to ever entirely leave the busi- 
ness. I should say that change constitutes its principal attrac- 
tion. Almost every man and woman becomes, at times, extremely 
weary of his or her personality. It is human nature. In motion 
pictures you assume new and different personalities continually, 
and, in fact, you become quite a stranger to your own personality. 
Then again, there is the congenial company of persons, artistic, 
dramatic, literary, like yourself, with whom a mutual exchange 
of views and opinions is always profitable and interesting. Of 
course, rewards are rewards, but an artistic success is its own 
reward and, above all, there is no easy road to success, because 
when it is attained easily or by some fortunate chance, it is 
seldom, if ever, lasting. 






167 




F. W. Seel-} 

HELEN FERGUSON 



168 



¥9 



¥5 



Ignorance a Liability 



DIRECTOR friend of mine, for whom I have the highest 



admiration and respect, once told me that ignorance could 



never be anything but a liability to a young actress. 'Two 
things she must have, if she really means to rise above the ranks 
of those who are merely 'in pictures,' to a lasting success as a 
real actress. One is knowledge. The other tolerance." I have 
pondered his words many times since then. For I cherish the 
ambition and determination to achieve some of that success 
myself, if it is humanly within my power. Tolerance, I believe, 
comes naturally as a result of the right kind of knowledge. 
Therefore the principal thing to do is to work unceasingly for 
the latter. 

I think that the day when a girl who photographs beautifully 
will, in spite of important qualities lacking in her mental make-up, 
eventually become a star, has passed. The day of the student 
is at hand. Lack of education is lack of poise, of surety, and 
both of these things are in definite demand. 

Study, observation, analysis. These three things should take 
up a larger part of the young player's time. On the stage, study 
is an absolute necessity. No one possessing an extremely limited 
education has ever risen to any appreciable heights in the serious 
drama of the stage. But the audiences to which the legitimate 
player looks for approval are kind — they allow years for a player 
to perfect his art, to acquire the knowledge and understanding of 
life which mellow his performance, enhance his appeal. 

The screen audience, an infinitely larger one, one which has 
a right to demand more of its players because of its tremendous 
size, quite humanly takes advantage of that right. It demands all 
that the stage does, and then, reaching farther, demands in addi- 
tion to all these things — YOUTH. It is therefore reasonable to 
suppose that a young person fitting herself for cinema success 
must study twice as hard as one fitting herself for the stage. 
It is preparation of a different calibre, however. A screen player 
must cultivate a keen perceptive power, a quick adaptability to 
any and all circumstances and conditions, an unshakable poise. 
She should know all that she possibly can of history, of lan- 
guages. She should have certain athletic knowledge. Should 




169 



170 



THE TRUTH ABOUT THE MOVIES 



ride, swim, dance, play tennis, and golf. She must have a sure 
knowledge of the social customs and their natural application. 
She should not be dependent upon her director or some member 
of his staff for enlightenment on the last named. And she should 
know life. I don't mean that she should have experienced all the 
sordidness of some of its seamy sides — but she should have 
learned enough to establish within her a tolerant, sympathetic 
understanding of its frailties and lack of dependability. 

I have known girls who have suffered cruelly and it hasn't 
touched them — either for good or evil. I have known others, who 
through quiet, intelligent observation have learned surely how 
to avoid the occurrence of mistakes in their own lives. But a 
young player must learn how near, in life, are the tears to the 
laughter. How the little things influence the great. The tre- 
mendous weight that can be possessed by a tiny smile, and how 
insignificant can sometimes be the mighty armies of the world. 
She must study to see these things truly, in their real value, and 
realize the degree of importance they can have invested in them 
through a false understanding — a lack of knowledge — of toler- 
ance. 

The prime requisites for success on the screen in the future, 
I believe, will be a sound mind, the ability to think straight, rea- 
sonably good looks, a photographic personality, application and 
study, and last, but most essential, YOUTH. 

A hard order, a large order to fill. One that should make the 
small town fan, who longs to be a "movie star," weigh her dreams 
of golden success against her possession of any of these neces- 
sary attributes, and hesitate long before she embarks for this 
little Hollywood, her worn pocketbook making her immediate 
success a necessity if she is to live. For she must remember, too, 
that the mere possession of any or all of these requisites does 
not insure success. 

A girl should realize that a career on the screen demands 
everything, promising nothing. To the favored few who bask 
in the glory of Fortune's smile, are illimitable gifts thrown, but 
from thousands who feel the call within them, fewer than a 
hundred are ever chosen. 




¥5 



The Meaning of the Mother in Pictures 

ESPITE changing conditions and changing civilization, 



the word "Mother" is fraught with more tender signifi- 



cance than any word in any language. It is beautiful 
beyond comparison and it partakes of a Love and Devotion and 
Understanding, which has enshrined it in the hearts of men and 
women and children through eternity. Therefore, when a 
mother is portrayed upon the screen, the part must be realistic, 
true and appealing. It is a fact that, when a story is being 
built, the mother part always demands and receives very peculiar 
treatment; that is, no departures are generally made from the 
universal acceptance of the love and general deportment of this 
lovely character. 

Possibly, to properly portray a mother, whether old or young, 
the actress should have a child or children of her own. Many 
of them have done very well in simulating the affection of 
motherhood, but, possibly, no woman can convey that realistic 
illusion without actually having experienced that most wonder- 
ful culmination of a woman's life, then, when she portrays a 
mother, it is not a portrayal at all, it is an actuality. 

Motherhood is a conception of love. It is a concentration of 
wonderful experience. It is the time when a woman passes out 
of her own individuality into that of the child she has brought 
into the world and, in its growth and development, she lives, over 
again, the love, the devotion which alone makes life possible. 
Therefore, it is probably true that the mother will continue to 
be the universal type of love and tenderness on the screen and 
will continue to demand and receive most careful treatment and 
consideration. 





171 



WILLIAM FARNUM 



Paramount 



172 



#8 



No Easy Road to Fame on the Screen 

IT HAS been my experience that there is no easy road to 
permanent fame on the screen. Some fortunate persons, 
born with great talent and distinctive personalities, have 
achieved early recognition and a measure of fame in moving 
pictures. 

In some cases the fame has been lasting ; in others they have 
flashed meteor-like across the sky and then descended quickly 
into oblivion. 

Any number of reasons could be adduced to account for the 
permanence of one artist and the decline of another. Some would 
be right, some, of course, would be wrong. But I think there is 
one reason upon which we can all agree, and that is that, in 
the one case the person has merited the favor of the public, 
and in the other, that he has failed to strike the chord of pop- 
ular response. 

The actor has really only one mission ; it is for him to accu- 
rately visualize for his audience the part he is to portray. The 
degree of truthfulness of the portrayal is the degree of his suc- 
cess as an actor. 



Actors, Actresses, Directors and the technical experts in the 
motion picture business have attained their success only through 
hard work, much effort and an endless amount of sacrifice. It's 
a hard grind, so look before you leap. 




173 



LLOYD HUGHES 



W oodbury 



174 



^9 



¥9 



How to Succeed 



UST study, work and learn. Anything can be mastered. 



Even if you never become great, you can always be pleasant, 



agreeable and, above all, not have an exaggerated idea of 
your own value. Other people always determine a person's value. 
We must first fit ourselves to come in contact with others, to fit 
in, to some degree, with their ways of thinking and do as they 
wish us to do because, after all, it is their effort which has given 
you employment and an obedient employee is always desirable. 
No matter if the task is distasteful, it has been given you for 
experience and a broad minded artist can make an apparently 
distasteful task as pleasant and agreeable as a pleasant task, 
provided he or she has the necessary mental equipment. 



N actor is a man who doesn't act. He comes upon the 



stage naturally. He forgets the camera and tries to 



forget a lot of other things also. Above all, the gift of 
retaining your own personality, easily, naturally, unaffectedly, is 
the thing. In a love scene, an actor must try to imagine that 
he loves the girl he is making love to. If he can't reach the illu- 
sion, then he must summons up, in place of the actress, some 
girl whom he is fond of. Before coming on the stage, he dresses 
himself well, then he forgets his clothes altogether. He makes 
himself up well and then forgets that he is made up at all. He 
must try and forget the stage set altogether. In other words, 
an actor is a supremely natural man. He must make natural 
gestures, smile naturally, walk naturally and be at his ease, 
physically. This, of course, is the supreme height of ability, 
talent and — art. 





What Is an Actor 




175 



Edwin Bower Hesser 

ELEANOR BOARDMAN 



176 



¥5 



Is Breaking Into Pictures Difficult 

I DO not believe that it is very difficult to "break into pic- 
tures." The studios are always hiring extra talent and 
most of the people in Hollywood have at some time or 
other worked in pictures. The difficulty comes after one has 
made his debut as an extra. The extra ranks are always full. 
Once in a thousand times does a director notice the work of an 
extra. Extras do not have the opportunity, and it is this fact 
which they are always bewailing. "If only I were given an op- 
portunity" is the swan song of the extras. 

The extra's salvation is to work in as many different pictures 
as possible. They are sure of being noticed if they work enough. 
I believe this is the best way to attract the attention of directors. 
Eventually the close-ups will come, and then if the person has 
ability he is assured of success. 



Are Pictures Here to Stay 

BY ALL means, because back of them is fascination, inter- 
est and enthusiasm. Amusement enterprises will live 
on forever. Their form may change but the fundamental 
idea will still remain. I love pictures. So will you, if you 
consider them in the right light. The right light is a medium 
of expression, of entertainment, of pleasure for numbers of 
persons who need them and you have the satisfaction of giving 
a world something that lightens its burdens and, at the same 
time, you lighten your own. This is what I understand as the 
true meaning of motion pictures. 





177 




Edwin Bower Hesser 

EDMUND LOWE 



178 



Does Stage Training Help the Film Actor 

r 7ITH the artistic development of the screen along various 



lines has come a decided improvement in the demands 



it makes upon the new actor. We all know of numerous 
cases of film stars and leading players in the old days who had 
never enjoyed any previous stage experience, and whose sole 
qualification for stellar prominence on the silver sheet was the 
curly, blonde locks for the woman, and a physique that looked 
well on horse for the man ! These days have, of course, largely 
passed. But still we find many cases where established screen 
favorites have not had legitimate stage experience. 

Despite these facts, it is undoubtedly true that such experi- 
ence is a great help. And, furthermore, if you will search into 
the past histories of those players who have succeeded in the 
films without this experience, you will find that many of them 
have enjoyed what might be called a related background. In 
other words, they have spent some time in a profession or trade 
which has kept them in the public eye, so that they were really 
performers, even though they did not don the grease paint ; and 
their stage was set in the everyday walks of life. 

For example, one of the most popular and technically perfect 
actors in pictures today was formerly a head waiter. Do not 
smile at this, because it is a fact that the highest class of head 
waiter is undoubtedly one of the best thespians in the world. He 
always manages to make you feel his superiority and at the same 
time he mixes with this an urbanity and an expression of pleas- 
ure at having you among his guests, even though you pay for 
that pleasure. Salesmen often make good actors for the screen, 
because their experience is a related one. Dancers and models are 
logical actress material for obvious reasons; they have been 
trained to a grace and they usually have a beauty which explains 
why so many of them have been drafted for motion picture 
acting. 

The young person whose ambitions are to become a screen 
actor can do nothing better to fit him for this profession than by 
securing an engagement in a legitimate stock organization. 





179 



Advice to Screen Aspirants 

MY advice is naturally gauged by my own experience, there- 
fore, if I say something about how I "made the grade" 
it may help others to decide their particular cases. 
I spent several years on the legitimate stage, both stock and 
metropolitan productions. I enacted every sort of part I could 
get, feeling that a variety of roles would give me that confidence 
and training so necessary to the finished actor. 

I especially value my stock company training, because it is 
here that an actor is called upon to play a wide range of parts, 
from juveniles to characters. From stock I graduated into the 
legitimate shows and played the leading male roles. 

So, therefore, it would seem that my advice to screen aspi- 
rants would be: Get into a stock company, if possible. Play 
small "bits" to begin with. Play any character called upon. 
Gain all the experience you can in this manner, and that poise, 
confidence, and dramatic expression so vital to success on the 
screen will be a part of your repertoire. 

As a substitute for stock company training I would advise 
the amateur stage. Enter enthusiastically into church and social 
theatricals. Many of our best stars of stage and screen credit 
their rise to a humble beginning on the amateur stage. 

Musical comedy, dancing, singing, and most any other brand 
)f public work is an asset to getting ahead in motion picture 
work. 



180 



Legitimate Stage Training Absolutely Essential 

LEGITIMATE stage training is not absolutely essential to 
screen success. Some of the very foremost favorites of the 
screen have never appeared in the spoken drama. While I 
am far from being among "the very foremost," still I have ex- 
perienced sufficient demand for my services to keep me actively 
engaged the year round — and I, before becoming a motion picture 
star, was a circus performer — a slack wire walker, to be exact. 

Stage training is undoubtedly a great asset. The difference 
between the person who has had stage experience and the person 
who has had none is just that the former can start in pictures 
playing parts while the latter must start at the .bottom and 
learn. Some individuals, including myself, have been able to 
avoid starting as an "extra" because of the fact that they pos- 
sess a qualification that comes in handy in picture making. 

The technique of motion picture acting is different from that 
of the stage. However, the average stage actor has no trouble 
acquiring the motion picture technique. 

It does not take a person long to find out whether or not he 
or she has any acting possibilities. Looks are secondary to last- 
ing success on the screen. Talent is most essential. There are 
born actors and those who are not born actors. The former will 
succeed. The latter will fail. Amateur theatricals will decide 
it for you. If you are honest with yourself you will know if you 
merely get by or if you really have qualifications. 

There are actors of stage training who do not succeed in 
pictures. This is due to the fact that such actors have depended 
more upon their voice to carry them to success than upon gen- 
eral acting ability. Voice will make you overlook poor acting 
on the stage but on the screen voice means nothing. There- 
fore, because a person may have had success on the stage is no 
indication that he will succeed in pictures. 

Stage experience is, therefore, a short cut to movie success, 
nothing more or less. If you have no stage experience but have 
the talent it will merely take you that much longer to get to the 
top in pictures. 

a* 




181 




■jer Hesser 



LEATRICE JOY 



182 



^9 



The Advantage of "Stock" Training- 

RAINING in a small stock company is almost an essential 



for one who wishes to take a "short cut" to screen success. 



It is true that the techniques of the screen and the stage 
are very different. But the tremendous strain of playing 
one production each week while rehearsing two others teaches 
poise and resourcefulness. It forces training in exits and en- 
trances, in sitting down and standing up. You can learn these 
things on the screen — but it takes much longer. And, of course, 
one always lacks the "spur" of a critical audience out front. 

I had acted on the screen for only a short while when it be- 
came evident I needed further training in the fundamentals of 
interpretation. I joined a small stock company at San Diego, 
California. A year there took off the "rough spots" in a really 
surprising manner. f ) 



Is Dramatic Experience Necessary 

IF YOU were an employer in any big industry and a man came 
to you looking for a job, would you ask him if he had any 
experience in your line? If he answered "No" you might 
start him in a very humble position where experience was not 
necessary, but if he said "Yes" and could prove it, then you have 
found your man and you employ him. 

All industries are alike in certain respects. Motion pictures 
are not different. I think there is a very great opportunity in 
pictures. I would discourage no one from entering them. We 
must have new faces. The old ones are fast disappearing. Get 
some dramatic experience before coming to Hollywood. Don't 
be too particular how you get it, but get it. 






183 




BARBARA LA MARR 



184 



¥9 



¥5 



Aspirants Should Have Some Stage Experience 

I HAVE only one word of advice for the girls and youths am- 
bitious to get into the movies. It is this : 
Go on back home and get a job in your local stock com- 
pany and make up your mind to stick it out for a year. It's a 
pretty safe bet that if you can't convince the manager of the 
stock company that you're good enough for a try-out, you'll not 
be able to make a go of it at a studio. 

Let no opportunity pass to learn. Too many youngsters will, 
for success and fame, start out to become great actors and 
actresses without having the slightest notion of how to act. A 
plumber can't fix the sink without serving his apprenticeship; 
a carpenter can't drive a nail properly without first learning how ; 
why, then, should so many of us expect that we can act in the 
movies or anywhere else without first mastering the rudiments 
of the art? 

The only way to build a safe foundation for later achievements 
is to learn the "a b c's" of the game first. Face the difficulties, 
master the problems, acclimatize yourself to the tinsel and 
strange brilliance of it all. 

Consider this, that the average term of a screen idol's vogue 
is about five years, and perhaps a little more, perhaps a little 
less. Digest that thought and then face the decision that comes 
sooner or later to every popular figure of the screen. Shall he — 
or she — become an actor or remain just a personality? 

The meteor figures of the screen have almost without ex- 
ception, depended upon their personalities, their own individual 
charm, to keep them going. A few of them have been versatile 
enough to endure for many years, but trace back film history 
and you will find a trail of toppled heroes and heroines. And 
audiences will adore a profile or a rosebud mouth or a beautiful 
figure for just so long and no longer. After that must come 
oblivion or real acting. » 

Seek, then a place in your stock company. Prepare for a year 
of drudgery and learning. After that you can turn to pictures 
with some hope of success. 




185 




Clarence if. Bull 

CARMEL MEYERS 



186 



^9 



Is Legitimate Stage Training Necessary 

IT'S just because it's easier to teach a child than a grown-up. 
And the legitimate actor is the grown-up. The technique of 
the stage and screen are not the same. A man might be 
qualified to run a street car well, but be helpless with an 
automobile. 

An actor on the speaking stage knows how to get large, broad 
effects. His technique has to consider distance. But the camera 
brings our people close up to every face in the audience, so their 
training must include and be mainly for the intimate appeal. 

The crude extra is the sapling that we can bend. The grown 
oak of a stage actor won't yield so easily. 

Of course, there are notable exceptions, such as John Barry- 
more, who is superb in both mediums. 

But there is another and more subtle reason why even great 
legitimate actors fail on the screen. The intangible quality called 
personality evaporates, when the silent stage takes the place of 
the speaking one. 

A strange, inexplicable alchemy goes on in the camera. The 
fire of these really great interpreters is gone. They emerge with- 
out magnetism, without any powerful appeal. And no one can 
explain this mystery. 

Training for the screen has to go so much deeper than the 
other. It is more difficult. One actor has the inspiration of 
flesh and blood. But ours has nothing but a cold piece of glass. 
In his creation he can get no help from the audience, so every- 
thing has to come from himself. 




187 



HOBART BOSWORTH 



Clarence S. Bull 



188 



^9 



Why Legitimate Actors Fail on the Screen While 
Many Who Have No Training Succeed 

BROADLY stated, all acting consists in the expression of 
emotion by means of muscles. Facial muscle supplies fa- 
cial expression, vocal muscles give variety and depth to 
the actors of the speaking stage in a way not possible to their 
brethren of the screen, but gesture and facial expression are 
common to them both. 

Underlying all muscular expression must, of course, be deep 
feeling governed by intelligence, and the success of the actor, 
whether of stage or screen, is dependent absolutely upon these 
corollaries, the ability to feel and the power to portray the emo- 
tion adequately. 

Those of us who had legitimate stage training and who took 
the screen seriously, studied its more delicate methods in "close- 
ups" (particularly because of the exaggeration of expression on 
the hugely enlarged screen) found our old stage knowledge as- 
sisted us immeasurably, found in the new life but little to relearn, 
and the great majority of the successful people of the screen to- 
day are from the legitimate stage. The exceptions are chiefly 
young people of great personal beauty and charm who don't even 
try to act — don't need to — and some of whom who have seriously 
applied themselves to learn to act, and have succeeded in pic- 
tures, just as they would on the stage, with the same ambition 
and application. 

It is very true that some very fine stage actors have failed 
completely in pictures, but we must look farther than their 
special knowledge of expression of emotion (the one thing com- 
mon to stage and screen) for the reason. I always ascribed it 
to the careless condescension to this "funny, new little business" 
that offered them such huge sums for making a picture or two 
during the summer when theatres were closed. They failed to 
take us seriously, laughed at us, said we were merely canned 
drama people, not artists at all, and were quite scathing in their 
criticisms of our methods, our stories, our results generally. 

I know that to be true because it was my own experience when 
Francis Boggs asked me to make the first picture ever made in 
Los Angeles. I fell for the temptation because I needed the 
money, and many a time since I have seen stage actors go through 

189 




190 



THE TRUTH ABOUT THE MOVIES 



191 



that experience. I found the new work tremendously interest- 
ing; and the actors who saw it as I did are still making pictures, 
and are the back-bone of the profession, making traditions, 
helping to carry on the big work. 




* * * 



THE stage and films are allied — 
one is the forerunner and pro- 
ducer of the other. The stage 
has played its part in covering the 
main Thespic field of the amusement 
world and it will now become an art 
not abused by every form of so-called 
dramatic action. 

It will narrow — its appeal will not 
be so wide. It will never be greater 
than it was, but it will be better on 
the whole. Instead of the primary 
amusement of the people that it has been, it will be secondary — 
and auxiliary. 

No good actor from the stage who has made a study of screen 
acting has made a failure of it. 



* * * 




THIS is a superstition — not a fact. No really good legitimate 
actor ever failed on the screen, because no one who really 
had no training whatever, ever met with success — that is, 
not until he or she had had some training. 

The qualifications for success on the screen are just exactly 
those requisites for success in any other art or profession. That 
is, first, the gift; then the training; then the experience; then 
the persistent application — then the opportunity ! 



IMPERSONATIONS OF SYDNEY CHAPLIN 

1. Sydney Chaplin 4. The Kaiser 

2. A bad man 5. Romeo 

3. Galloping Fish 6. In Rendezvou 



192 



¥5 



Character Acting 



HE most encouraging note in the films today is the growing 



emphasis on the work of the character actor and his value 



to the screen. As long as the players are selected because 
they "look the part" and can walk through the sets at the be- 
hest of the director, just so long will there be no real artists 
among the actors, and no real art in pictures as a whole. The 
present trend toward the recognition of the worth of the polished 
character actor, means greater opportunities for all of us within 
the motion picture field, and better entertainment for the 
audiences. 

Of course, we are all formed and constituted to fall into 
certain qualifications of physique and physiognomy which more 
or less suggest specific types of persons. The actor can, of course, 
change his appearance to a startling degree by the use of various 
devices ; but, fundamentally, character acting goes much farther 
than the make-up box. The external assumption of a particular 
part is only the background; the character actor must get into 
the psychologic aspects of his role, so that the onlooker will 
think not of the actor, but of the person in the story which is 
being enacted before him. To accomplish this psychological as 
well as physical transformation, the character actor must rely 
not only on his thespian talents, but even more on the elastic- 
ity of his subjective mind. For example — the best actor cannot 
be concerned with the mechanics of his art while he is before 
the camera. He does things subconsciously, without too detailed 
instructions from the director — otherwise he becomes a mere 
automaton, giving a stilted performance. To illustrate this point 
concretely — the good actor instinctively lifts a white object so 
that it will have a dark background- — and vice versa — if he must 
watch the details consciously, he cannot give his whole brain 
power to the characterization he is portraying. 

Like most arts, character-acting has a purely mathematical 
background. Many of the great actors in this line are not con- 
scious of the scientific basis of their art — just as many musical 
composers have not studied the tonal mathematics of the scales. 
These actors create their characterizations solely by the exer- 
cises of their subconscious mentality ; but those players who are 
willing to study the scientific basis of character acting can find a 




193 



194 



THE TRUTH ABOUT THE MOVIES 



great aid in it: the clarification of the characterization which 
makes it simpler for their subjective minds to create the part 
in question; and therefore to give to this creation a complete 
concentration because of the certainty of his appearance and man- 
nerisms in their own minds. 

When the character actor is assigned to play a certain role, 
either unconsciously or consciously, he visualizes that person; 
and after working out the external changes in his own appear- 
ance which are necessary for him to be his own conception of 
the character, he must get himself into the psychology of that 
character, so that he will act before the camera just as this char- 
acter would have acted in real life under the circumstances of the 
particular story which is being filmed. A study of human types 
and characteristics, even if not quite as extensive and abstruse 
as that of the mathematical philosophers, will aid the character 
actor in definitely "placing" the role he is about to assume. 
The great character actor goes through this "placing" process 
perhaps subconsciously, but based on the study he has made 
of people in life and in fiction. 

A particularly encouraging note is the recent revival of com- 
edy characterization as a relief for some of the highly dramatic 
stories now being filmed. The advancement of the public's taste 
has even been more noticeable in comedies than in so-called 
"straight drama." The audience demands an emotional respite 
during its witnessing of an intensely dramatic story; and here 
is a rich opportunity for the character actor who specializes on 
comedy relief, especially when the comedy relief character fur- 
nishes the solution through an apparently inextricable difficulty 
— for then the audience's relief over the solution of the situation 
makes it even more amenable to the actor's arousing of its risi- 
bilities. This type of parts permits truly artistic characterization 
through logical motivation and sequence of action. They do not 
strain the credulity of the audience or the actor — thus they per- 
mit him to give his best work to the characterization. They 
offer the actor, furthermore, the opportunity for demonstrating 
his versatility, which every real performer craves; and in this 
demonstration the true player can show the study and the powers 
of delineation which make him a real character actor. 




^9 



Art in Its Various Relations 

MONG the arts, there is a well recognized relationship. 



I know of no better training for a Director than to under- 



stand the fundamentals of one of those arts which has a 
relationship to his own. In pictorial beauty, there is an art. 
In the human figure, there is an art, probably the greatest of 
the arts, because, in face, form and inspiration, it combines all 
the arts. In it the art of sculpture finds its expression, as does 
the art of painting. It means symmetry, proper conception, 
beauty and, if one can catch its expressions, one has conquered. 
If one labors, for instance, over the chiseled expression of a 
statue for hours, one finds the plasticity of the human face in 
motion pictures comparatively easy of expression. If one can 
put a soul into a piece of marble, one can infuse an inspiration 
into the living, breathing soul of a human being, which is under- 
stood, even by the most unemotional person. 

The secret is to consider all emotional expression as an art, 
a thing governed by certain definite rules and to be able to apply, 
symmetrically and clearly, those rules in an unmistakable way. 



HE art of acting consists in feeling. No set of poetic ges- 



tures, no stereotyped mannerisms, can explain an emo- 



tion. No two men will illustrate an emotion in a similar 
way. Therefore, one must express these things through the 
medium of feeling, which will dictate its own physical method 
of expression. 





In What Does the Art of Acting Consist 





195 




Fear 

GESTURES 
By Lloyd Hughes 



196 



¥9 



The Character Man 

CHARACTER men are to motion pictures what "character" 
is to a personality. They are "backbone." 
With only beautiful leading ladies and handsome young 
men in motion pictures, picture stories would have the same 
effect as too much candy. 

The character players, both men and women, introduce the 
leavening influence of real things from real life. 

With each year's passage, character players are obtaining a 
stronger hold upon the public. Because, as a rule, the leading 
players have enlisted the sympathy of audiences before the pic- 
ture starts, the character actor is called upon to present a really 
striking performance to hold up his end. 

Because of this, the public has realized the value of the char- 
acter actor and has accorded generous praise. In some cases, 
the character actor has won a following almost as numerous as 
the greatest of the stars. 

Character players owe the position they enjoy today to the 
motion picture. It has given them an opportunity to develop 
tiosts of "characterizations," some of which will remain famous. 
Because of the latitude allowed the character actor in the mat- 
ter of make-up, his opportunity is greater, as a rule, than that 
of the star. WVV 

* * * 




What Is the Value of Character Work 

A MAN, to have his name on the bill boards, does not have 
to be young and good looking — if he can portray an un- 
usual character — make the part live on the screen, there 
is a welcome for him in the modern casting office. 

While it is true that many of the best known character actors 
of the screen have been recruited from the stage, a stage experi- 
ence is not entirely necessary. 

Take stock of yourself. If you can bring to the screen a 
vigorous portrayal of an interesting character, there may be an 
important place for you. 



197 




LON CHANEY 



19S 



^9 



^3 



What Is Characterization 



SOME people are especially born for characterization. You 
feel the call of it and you answer the call. It is your dra- 
matic destiny. In the character and emotions of those per- 
sonages of bygone times, you experience a change, an interest 
and yet you realize that, fundamentally speaking, emotion is 
always the same. But the passions and emotions of bygone 
peoples and characters were, it seems to me, much more intense 
than ours of this modern era. Therefore, one releases himself 
from comparatively infantile passions and emotions when one 
depicts the tremendous loves and hates, sufferings and triumphs 
of those who made fictional or dramatic or real history in the 
eras when the world was in the making. 

First you read of them, then you visualize them to the best 
of your ability, then you characterize their customs and throw 
off modernity and go back, and convey to the public an immortal 
emotion which has grown and enthralled a world under the pen 
of a supreme master of emotion. You have taken a heavy 
responsibility for there was fascination, reality, tremendous, 
volcanic qualities in those characters which taxes your strength, 
your mind and your soul. 

It takes a man or a women who, emotionally, is very strong 
to undertake these tasks and, once undertaken, the days pass 
into weeks and still you live and breath and suffer the emotions 
which may lead to happiness and which may lead to those 
sombre, gruesome shades which also form a part of Life. 

Characterization is not easy. With so little of real authen- 
ticity to go on, it becomes more difficult, for strange to say, 
an audience will sense the authenticity of a character which 
you are portraying and sense it intuitively. But characteri- 
zation has its rewards in work well done, sincerely done and 
you bring back, in reality, those characters which generations 
have loved. 




199 




WALLACE BEERY 



200 



¥5 



¥8 



What Is a "Heavy" Man 



HEAVY man need not, necessarily, be a villian in real 



life. He earns a living by being villianous in pictures and, 



therefore, he gets very weary of carrying it forward into 
his domestic relationships. There is a certain pleasure in dis- 
playing to the world — for a moral lesson — those forces which 
actuate us, at times, to evil. We, who portray these parts, 
recognize that fact. We are an essential and integral part of 
drama because we shed light upon the virtue of the hero and 
teach a moral lesson. Portrayal of this type requires concen- 
tration and consecration. Everyone knows that the virtue of a 
virtuous man is ironclad but everyone is deeply interested in 
knowing whether the "heavy" man will ever become good and 
this is the real interest attaching to our part of drama. Like 
all true acting, one must live an emotion of evil in order to por- 
tray it. 



How to Become a "Heavy" 
"HEAVY" man needn't necessarily weigh a good deal. 



In fact, villians are, generally, very thin men. However, 



some men look very villianous but aren't, in reality. Just 
so you look villianous, however, you are all right for pictures, 
provided you wish to gain the hatred of all nations. I rather 
enjoy being a villian. It prevents one from feeling too Biblical, 
as it were, and also gives one a feeling of forceful activity and, 
in the end, the villian is always punished, so he serves a very 
useful purpose, that of instilling a moral lesson. Good heavy 
men are scarce because, it seems, everyone wishes to see pictures 
as extremely moral and all that, which gives the villian a good 
chance to work continuously and, otherwise, reap the benefits and 
rewards of this great industry. 







201 



JAMES KIRKWOOD 



202 



^9 



Has Art a Fatherland 



RT has no Fatherland. This fact has been well established, 



and it shows conclusively that all art is based upon 



humanity. No matter under what flag an actor is born, 
he possesses a heart and soul more or less sensitive to all emo- 
tion. Whether it be Love, Hate, Sorrow, Joy or Beauty, each one 
of us is capable of appreciating and feeling these emotions. But 
these emotions are felt with a varying degree of strength or 
repression. 

The physical features have established different types and 
the performance must symbolize the different character on that 
account, it is impossible to prefer an actor only on account of his 
nationality. Each one has a different personality. 

If you feel you are strong enough to engage in the struggle 
with all your ability against obstacles which are placed in your 
pathway, enter that struggle. At the moment when you imagine 
that you have achieved success, some other obstacle presents 
itself, which, in turn, must be surmounted. These obstacles con- 
front all of us and every day we have to encounter this experi- 
ence in order to achieve the daily victory. "IMPOSSIBLE" is a 
word which should be banished from all the dictionaries of all 



TAGE training is the most valuable asset a motion picture 



actor can have. Here you learn poise and naturalness, the 



first rudiments of acting, and without these your screen 
career is short. Of course, personality means a great deal, but 
without the knowledge to go with it, it is pretty hard to get over 
before the camera. And another thing, insincerity, is sensed by 
an audience quicker than the players realize. It is absolutely 
necessary for a player to believe sincerely in what he is playing 
in order to convince his audience. _ 




languages. 




Stage Training 




203 





HENRY B. WALTHALL 



204 



¥9 



What Is Emotion 



MOTION is the development of those faculties, artistically 



expressed, which are the mainsprings of life. An emo- 



tion is a thing which hundreds of clever stylists have 
written of and it is far removed from mechanics. Emotion 
should be fostered and developed and lived and a dramatic art- 
ist should court the emotions of life. An emotion is an ex- 
ceedingly difficult thing to portray and, probably, its proper 
portrayal comes from experience. Certainly, experience is the 
keynote of dramatic success and the lesson is that when a man 
or a woman sees the tremendous heights and depths to which 
the soul's emotions can carry one, then a lesson is taught and, 
without the lesson, the drama, itself, becomes infantile. 



Should the Villian be an Obvious Character 
f ANY times I have been chosen to portray heavy parts. 



Because of this, 1 tried to bring something subtle and 



original into the work. There are villians and villians. 
There is the forceful villian who dominates by the force of evil 
obviously expressed. There is the subtle, Machivellien charac- 
ter, who secures his evil triumph by force of suggestion, of 
subtlety, of originality. Unquestionably, we will always have 
villians. In fact, even in real life, they seem to be growing more 
common every day, and, invariably, they reap the reward of 
their evil deeds and yet this form of expression is necessary to 
deal with a corner of a man's soul which is dark and must be 
lightened. 







205 



NORMAN KERRY 



206 



^9 



What Is a Leading Man 



NE who, through the force of his own personality and 



appearance, has battled his way through many obstacles 



until he occupies the spotlight in the picture. I have 
never seen a business in which success was so instantaneous at 
times, provided one has the material. It holds greater rewards 
than any business I know and there is a pleasure and a fascina- 
tion in the work which is undeniable. There are plenty at 
the bottom but the top is always a little bare. 



What Chance Has the Type in Pictures 
ON'T think you will become a motion picture star because 



That is my advice to the screen-struck people who are 
planning to invade Hollywood to work on the screen. 

"Types" are everywhere. The screen is searching for actors 
— real actors. In one sense, there is no such thing as type, and 
in another sense, there are as many types as there are human 
beings. 

I never pick types — but instead select actors for the parts, 
and they create the types. 

During the casting of one of my pictures, the part of a 
wealthy and unscrupulous capitalist was open. Some one sug- 
gested to me that I choose a well-known screen type. 

Instead, the part was given to the best actor I could find. 
He made the type— by acting, not by his looks. No one can say 
what a wealthy capitalist looks like — for there are hundreds of 
them in actual life, and certainly, they do not all look alike. 

My advice to potential screen favorites is to judge themselves 
from the ability to ACT, not from their physical appearance. 






you are a "type. 




207 




Melbourne Spurr 

WALLACE MacDONALD 



208 



¥9 !$8 



Is Versatility in a Leading Man Necessary 

BY all means. A leading man cannot always play himself. 
There must come a time when a demand is made upon 
him to step out of his own character. This demand will 
occur sooner or later. Versatility means the ability to play 
diversified characters, always, of course, within the range of 
your particular ability and age. But, unquestionably, to be an 
actor one must understand versatility, realize its necessity and, 
finally, be able to practice it in your work. 



^ ^ ^ 



What Is a Type 

IN THE picture business, the tendency to select an actor be- 
cause of his supposed resemblance to an accepted type in 
public mind is most marked. While it affords the actor an 
opportunity to do continuous work for a great many years, it 
gives him little opportunity, if any, to characterize many things 
of which he may be capable. Commencing with the old Selig 
Company in Oakland, I seem to have been selected as a type to 
play secret service and detective parts. Under a system of 
selection of this kind, it is extremely difficult, almost impossible, 
to work out of it. Owing to continuous portrayal, it may hap- 
pen that an actor becomes tired of parts of this kind and a 
sympathetic portrayal, therefore, is extremely difficult. It may 
happen that the time will come when the public and the producer 
will realize that no particular type can apply, universally, to a 
particular human character. Sometimes, a detective is a smooth, 
suave character and there are so many diversified types among 
the European Secret Service that no one type can properly be 
said to apply. 

It is rather a hard proposition for an actor to play the same 
part for a great number of years. He feels, during that time, 
that he has missed many artistic parts to which he might have 
been able to do more than justice. 




209 



11 




Edwin Bower Hesser 

ZASU PITTS 



210 



$8 ^9 



Youth in Character Work 

BEAUTY is only skin deep, so they say. Expression is much 
deeper than that. Expression is life and there can be as 
much youth in the soul of a girl who scrubs a kitchen floor 
as there is in the heart of a butterfly. Nearly all girls seek the 
boudoir. I love to seek the difficult character without artificial 
aids. I love to strip emotion bare and enter a field which is, prac- 
tically, undiscovered. I love to prove that youth is universal 
and eternal and that, beneath the unattractive exterior, there is 
the attractive interior and that, from the label, one cannot tell 
what may be on the inside. There is a great field in youthful 
character work. It is undeveloped and undiscovered. Experi- 
ment in this field. It may be worth while. 

OA 

* * * (J 
Types 

A MAN who strongly represents a certain type need not be 
a particularly good actor, since his appearance suggests 
nearly everything. 
Really great actors are able to present subtle shades of mean- 
ing. In motion pictures, where innumerable types are needed, 
there are too few actors whose capabilities are varied enough to 
meet the demand. 

For this reason, the character actor known as a "type" came 
into demand. Directors secure a great many of their atmos- 
pheric effects by exercising a careful choice of players. 

When the director wants a man to play a rag and bone mer- 
chant, he picks one who looks the part. In the old days, he would 
have expected an actor to achieve a rag and bone merchant's 
make-up. 

Without "types," the motion picture of today would not be 
nearly so convincing. 




211 




212 



^5 



What Is Temperament 



'EMPERAMENT is one of the essentials of dramatic suc- 



cess. Temperament is not an hysterical demonstration. It 



is that gift which enables us to grasp the nature and dra- 
matic personality of the character we are called upon to portray 
and probably the disturbance called temperament comes from 
the effort we make to throw off our own personality for the 
moment to take on another and entirely new one. This is a diffi- 
cult matter, but it is one of the essentials of success. 

The realization of what you set out to attain. The knowl- 
edge that you were not wrong. The reward which comes from 
effort well spent. It is worth while, as much as we know 
of it and it is always in front of you, no matter what you 
have attained already. Success is beautiful with the beauty 
of purpose. Success is kindness, the helping of those who come 
after you and it holds the final chapter of contentment and 
realization of yourself — and others. 



EXPRESSION is the art of depicting facially the trueness 
of emotion. Therefore, expression must be felt in one's 
own consciousness before it can be properly conveyed 
facially. To be properly portrayed, the emotion must be lived, 
for the moment, whether it be Hate, Fear, Love, or any of the 
more common emotions or, rather, universal emotions. Expres- 
sion then comes naturally, without effort and is entirely remov- 
ed from the mechanical expression sometimes so apparent in 
dramatic portrayal. 





What Is Expression 



213 




214 



¥5 



Beauty— What Is It 



IT IS, probably, a very great and much sought after gift. 
Beauty of feature, face and eyes is conferred upon us with- 
out our solicitation. Once we have it, however, it is our privi- 
lege to develop it so that the eyes of human beings may be 
pleased. Unquestionably, a beautiful girl has a greater chance 
in pictures than one who is not and yet, the girl who is com- 
paratively homely, should develop her personality to such an 
extent that she, also, will have her chance. It is a fact that, 
at some time and in some way and some place, each and every one 
of us will have his or her chance. 



Does One Have to be Handsome 
OOD looks are a great adjunct in pictures. A handsome 



appearance at once predisposes other human beings 



— towards you. Good looks, I think, are not a matter of 
cosmetic. They are questions of beauty of soul as well as of 
body and our appearance comes from our inner consciousness. 
No man can say that he is handsome because there are so many 
differing opinions about these things. But any man whose inner 
consciousness is bright and optimistic, can be said to be good 
looking because, as I have said, these qualities shine through 
and make the appearance. 





215 



^5 



^9 



Beauty 



BUT what is beauty? I can't define it. I can only be thrilled 
and wonder at a face that may produce that in me, yet 
have no regularity of feature. The time, of course, is past 
in pictures when a girl can get in on looks alone. But the art 
of acting is co-ordination. The face and figure are your instru- 
ments and must respond at once to your conception of the char- 
acter. If they are awkward and fail you, no matter how well 
you think, you won't get over. 

No one can give anyone else advice how to get into pictures. 
Each career is a voyage over an untracked sea. To tell you to 
get in the way I did, might be just what will keep you out. 

But I do think, as character parts are more and more in de- 
mand, the girl with brains has a chance that she never had in 
pictures before. That is the part I like to play, something with 
shadings and rich in opposite or different qualities. Mitzi in 
"The Marriage Circle," gave me the chance I never had till then. 
I could start her at a high point and keep her there because 
she was a real person with a complex that I liked to unfold 
before the audience. 

Not beauty, but personality, I would say, is the essential to 
screen success. But no one can define this subtle quality or tell 
when it will be discovered. Thought with work will bring it to 
bloom quicker than anything else. 




217 



CLAIRE WINDSOR 



218 



^5 



¥9 



Beauty Not Vitally Essential 



I KNOW a great many people say that beauty is not the great- 
est asset to a girl who would climb the ladder to stardom. 
But beauty, if not vitally essential, is a big asset. A pretty 
girl has a chance over all others. She will get a hearing where 
others won't. Of course, I don't mean to say that the only thing 
a girl needs is beauty. She must have that beauty of spirit 
which reflects itself. She must be able to act. She must have 
intelligence. 

It is the nature of almost every woman to wish to be beauti- 
ful. It is the pleasure of almost every man to delight in the 
society of a beautiful woman. Beauty breeds a self-confidence 
in woman which goes far toward success. After all, is not self- 
confidence one of the principal ingredients of success ? 

If you are willing to work hard and are sure that you can 
make good when your chance to act before the camera comes 
along — if you are sure the camera will record your good looks — 
by all means look very seriously into your chance for a screen 
career. 



Selecting an Appropriate Screen Name 
HERE is no more fascinating "game" in the world than 



the motion picture — and none more fickle or difficult to 



"break into." The novice must be ready to face its many 
ups and downs if success may ever be attained. 

Fancy screen names have nothing whatever to do with 
screen success. Of course, if one is possessed of a harsh sound- 
ing name that does not roll easily off the tongue or which is 
not easily remembered, it is better business to adopt something 
more convenient. 






219 




hdwxn Mower tiesser 

WANDA HAWLEY 



220 



^5 



Is Beauty Essential 

MERE beauty is no longer essential for success in motion 
pictures — as a matter of fact, it is rather a hindrance. 
In the days when the films started, actresses were 
selected mostly because of their good looks or their blonde curls, 
or both ; in those days, there were no acting demands made upon 
her — or very few. And the more beautiful she was, the more 
desirable she was for the films. Today, however, conditions 
have changed vastly — and for the better. The players in pic- 
tures must know how to act and they have plenty of opportunity 
to show their talents. Accordingly, it is no longer sufficient 
for a girl to be beautiful. That is why so many winners of 
beauty contests have failed in the films. You must know how to 
act and be prepared to make every sacrifice of your beauty for 
your part. Hence my statement that the possession of beauty 
is often a deterrent toward motion picture success, because di- 
rectors and producers think of you as just a beautiful girl and 
are not inclined to give you an opportunity to demonstrate your 
real acting talent, as they might be willing to do in the case 
of the girl who was what we call "just nice looking." 

Of course, there are cases even today of beautiful women in 
pictures who are among the chosen few. Some of them are tied 
down by their reputations as beauties ; but others of them have 
really been permitted to show their ability as actresses and have 
taken advantage of their opportunities and demonstrated their 
artistic ability. 

Of itself, however, beauty is, of course, always sought after 
for its intrinsic artistic appeal; and this is entirely right and 
proper, since we all like to look at beautiful things, whether they 
are alive or not; but I have wanted to stress the warning that 
beauty of itself is not enough to insure success in the films ; you 
must have real ability as an actress before you can rise to 
stardom. 




221 




Edwin Bower Hesser 

MAE MURRAY 



222 



^§9 



^5 



Does the Ability to Dance Contribute to Success 
in Motion Pictures 

\ jf OVEMENT is life and dancing is its most joyous expres- 



sion. One who aspires to become a dancer, has only to 



observe children and animals to learn that the rhythm 
which is the fundamental principle of dancing, is instinctive. In 
fact, first lessons in dancing should be taken from children and 
animals, as the desire for the expression of life in movement, 
finds in them its most natural and beautiful manifestation. 
Dancing has been, since time immemorial, a universal expres- 
sion of a universal fact. Even in religion, the ceremonial has 
found its most sublime expression in dancing. Since life is 
beautiful, its expression must, therefore, be beautiful also and 
it follows that those who have achieved the quality of dancing 
well, have also achieved a great part of life's beauty. 

Dancing exalts your thought and lifts you from the oftentimes 
depressing routine of daily living. In it, one seems to forget con- 
ditions which are depriving you of your proper expression of per- 
sonality. Down through the ages, men and women and children 
and animals have felt that inherent urge which cannot be de- 
nied as it is one of the most naturally beautiful principles of Na- 
ture herself. Have you ever gone into a woodland grove and 
watched and listened to the rhythm of the trees and leaves and 
the music which soothes and causes you to forget. It is there 
one learns that the rhythm of music and dancing is the same. 
It is there, as elsewhere, the divine rhythm of movement, and, 
after all, what is the composition of a great musician, save 
the desire to cause the world to express its life in graceful 
movement. While the composer writes a wonderful dance mel- 
ody, he is, metaphorically speaking, dancing himself so that, it 
would seem, dancing is the first great, fundamental art of joy- 
ous expression. 

Strange as it may seem, the simple art of walking is also a 
part of dancing. It would be surprising to know how many 
admiring glances, how many secret expressions of approval, fol- 
low the graceful movements of a graceful human being on a pub- 
lic thoroughfare. The simplest movement of the hands, the 
arms, of the human body itself, is also a form of this universal 
joyous expression of life. 




223 




RAMON NAVARRO 



224 



THE TRUTH ABOUT THE MOVIES 



225 



I have often been asked is dancing essential to a motion pic- 
ture aspirant? The correct answer, it seems to me, is very 
simple. If one has complete and graceful control of his or her 
body, it follows that he or she has also a complete and graceful 
control of his or her mind. The expression of emotion is direct 
and true. The outward expression of any emotion must come 
through the body and the emotion flows naturally and easily, 
without bodily hindrance because, somehow, every expression 
of that perfectly trained and controlled body is expressive, almost 
automatically, of the thoughts which dwell in the mind. 

Some are born dancers, others acquire the art. Naturally, 
one who feels the joyous urge most strongly will find the greater 
graceful expression. But, also, one who, through long devotion 
to the art, acquires it may also interpret grace, emotion, freedom 
of movement, poise and general control most beautifully. In 
other words, there probably never has been a human being who 
has not felt the urge to become a dancer and, if that urge has 
not been gratified, nevertheless, the admiration for the grace 
and poise of a dancer has been admitted and, in the joyous ex- 
pression of the dancer, human beings have found great exalta- 
tion themselves. They have participated, in thought and de- 
sire, with the artistic and graceful performer whom they have 
seen. They have caught something of the fundamental joyous 
principle of movement which has animated the dancer who has 
lifted them from themselves. 

Certainly, I would advise everyone to acquire a knowledge of 
dancing. In fact, there are very few people who have not ac- 
quired it. It may be said that, if investigated, the success of 
many of our stars has come from just that poise, self control 
and natural grace which are a part of the art of dancing and a 
knowledge of that free movement and lack of self consciousness, 
which is dancing's ultimate expression. 




Donald Biddle Keyes 

THEODORE KOSLOFF 



226 



^9 



¥5 



Is the Art of Dancing Essential to the 
Motion Picture 

HE art of dancing is essential to life itself. It is the uni- 



versal mode of rhythmic expression. It is the soul in 



action. It is grace, exercise and the poetry of thought. It 
is the one universal enjoyment and expression which never loses 
interest. No matter how badly or how well one dances, one loves 
to dance. Seemingly there is a mysterious something within the 
very soul of men and women which absolutely demands this ex- 
pression and, in all ages, climes and countries, we find dancing, 
in differing forms, of course — but dancing. We find it at feasts 
of sorrow and it conveys the expression of all ages. Dancing 
gives grace and assured poise. There is no portion of the hu- 
man body — a beautiful creation of the Creator — which cannot 
be made to express itself fully and with rhythmic beauty. 

Very few pictures have been produced which have not em- 
bodied within themselves the art of dancing. Kings, Emperors 
and Princes have been beguiled by the sinuous art of women who 
have danced well and, like all beautiful expressions, dancing has 
another side, an evil side and, in this side, we find also a terrific 
power of suggestion, just as we find it in music, terrific and, 
often im n 'ompelling. 

One might almost put it: Is the motion picture essential to 
dancing? In dancing, emotions may be conveyed which are 
tremendous beyond description. The Joy, the Sorrow, the Hate, 
the Love and the Rage and the Evil of the World may be con- 
veyed in dancing in an unmistakable way. 

Dancing is an obsession and, in this obsession, one finds a 
never ending interest. Dancing is a stimulation, a recreation, a 
mode of thought; in fact, all the human and most of the divine 
faculties of men and women receive their utterance in dancing. 
Dancing is a question of personality. A child might do the Greek 
dances very successfully. Another might be well qualified to 
undertake the fiery steps of Russia and still another might un- 
dertake the languorous movements of the Oriental peoples. 





227 



i Edwin Bower Hesser 

JACQUELINE LOGAN 



228 



¥5 



^5 



Dance and Be Graceful 



DANCE and be graceful. 
Dance and attain poise on the screen. 
Dance and retain good health. 
My advice to all screen aspirants is — Dance. 
Not that the actress may ever be called upon to appear in a 
terpsichorean scene in a motion picture, but because it will help 
her attain a beautiful, graceful figure. It will teach her how to 
walk and stand with grace. 

It will give her the poise which the girl who does not dance 
can hardly attain. It will teach her the value of her hands and 
feet, of her slim ankle and her supple wrists, of a beautiful neck 
and shoulders. 

And, in addition, it will give her good health. 
The screen actress must always be in good health. Too much 
depends upon it during the progress of filming a picture. Thou- 
sands of dollars can be wasted in one day by a star who fails to 
retain the best physical condition. Many persons will be made 
idle, the picture will be late for its public showing, if the actress 
does not work every day according to the schedule. There is no 
time for headaches in pictures. 

Inasmuch as the work before a camera often keeps an actress 
so busy that she cannot have relaxation or regular physical train- 
ing, she can dance before going to the studio in the morning and 
dance before retiring at night. And she can also devote spare 
moments to dancing between scenes on the set. 




229 




KATHRYN McGUIRE 



230 



¥9 



What Opportunities Are Offered the 
Dancer in Pictures 

STUDY of the former experience enjoyed by many of the 



girls now prominent in pictures leads one to the conclu- 



sion that dancing is probably the best background for 
screen work. Many of the present-day stars and featured players 
practiced this art before they came into the films, either as solo 
dancers or as members of ensembles. The Ziegfeld Follies has 
probably been the most prolific source of motion picture players, 
rivaling even the legitimate stage in the number of its members 
who have made their mark on the screen. It is easy to appre- 
ciate the reason behind this condition. Dancing is the funda- 
mental pantomimic art, and every trained dancer must possess 
the grace and ease of gesture which are essential to success in 
the films. 

Another important consideration is to be found in the fact 
that the practiced dancer stands out automatically from the 
group of beginners ; therefore she has this additional advantage 
in attracting the attention of the director. After all, the first 
step in getting out of the "extra" class, or even the group of 
"bit" players, is to make the director notice you, so that he will 
watch your work, and then, if he believes you have the ability, 
he will give you the chance to demonstrate it. 

Rapid advancement awaits the girl who comes into pictures 
with a background as a professional dancer and who is willing 
to study the technique of her new profession. Undoubtedly the 
reason why so many of the stars and other actresses who have 
reached the topmost rung of the ladder on the screen still con- 
tinue to take lessons in dancing, is based on the same considera- 
tions which give the dancer an advantage in entering the films. 
For dancing is not only an exercise which develops grace and 
physical beauty it is also an invaluable training in the art of 
repressed pantomime, which is a fundamental necessity for 
screen success. 





231 



PEGGY SHAW 



Edwin Bower Hesser 



232 



$9 ^9 

Ziegfeld Follies a Real Stepping Stone 
to Movie Success 

IF I were asked this question, I should unhesitatingly reply 
in the affirmative — and should go a lot further, too. From 
my own experience, I would advise movie struck girls to head 
toward New York and the Ziegfeld Follies rather than toward 
Hollywood. Why? Because Hollywood is overrun with young 
and lovely girls who really have little chance of making a suc- 
cess, having no background of personal experience on the stage 
or screen — that is, "no professional experience," as casting direc- 
tors mark down on their application card. 

The reason many Follies girls have risen to fame is that the 
necessary qualifications for the Follies and the Movies are iden- 
tical. Few people realize this. Even the "photographic quality" 
of a face enters into the selection of Ziegfeld's beauties. I was 
only a young girl when I first met Mr. Ziegfeld. In New York 
simply on a visit, with no idea of a professional career, I heard 
that he was looking for new faces for his super-Follies, the 
famous "Ziegfeld Midnight Frolic," which comprised only twenty 
out of a hundred of his Follies cast. It was the smartest rendez- 
vous in New York, and it was the ambition of every Follies girl 
to get into the Frolic. 

Ned Wayburn, most famous of stage directors, was with Mr. 
Ziegfeld when I met him, and almost the first question they asked 
was, "Do you photograph well?" I had never been photographed 
except in my home town of Pittsburgh, where I was just finishing 
high school. I wondered why photographic value mattered in a 
show, and was young enough not to be afraid of the "great men" 
at whose name so many aspirants trembled. I think that is why 
I made friends with both of them at the very start, and they 
frankly told me that half of a girl's value was in her publicity. 
"If she takes a good picture, the newspapers will use it — and 
this brings money to the box office." 

I was sent to Alfred Cheney Johnston to be photographed. 
At that time he was all the vogue in New York, and hardly had 
the pictures been made when they started to appear in the roto- 
gravure sections of the newspapers, and after I had been in 
the "Frolic" for a few weeks, the magazines were nearly all 
publishing pictures of me as the new Ziegfeld beauty. 

233 



PATSY RUTH MILLER 



Edwin Bower Hesser 



234 



THE TRUTH ABOUT THE MOVIES 



235 



Aside from the publicity angle, which brought me first to 
the attention of the motion picture producer, Mr. William Fox, 
for whom I played half a dozen leading roles in features, the 
training given in the Ziegfeld organization was worth thousands 
of dollars to me. In the first place, I came into it "absolutely 
green" from high school. And right here I want to say that any 
girl that goes into Mr. Ziegfeld's companies is treated beautifully. 

In my two years, not one thing occurred that I would take 
exception to in any way. If a girl can qualify with the facial 
beauty and perfect figure that Ziegfeld and Ned Wayburn re- 
quire, they can survive the strenuous work of rehearsals, learn 
the difficult Ned Wayburn dancing, and make good there, she is 
well on her way to success — success built on the firm founda- 
tion of experience. She learns make-up, and the Ziegfeld girls 
appear in so many New York productions, in groups requiring 
dancers and special chorus numbers, that it is as good as training 
in extra work in Hollywood. Besides, the pay in the Follies is 
good, the whole atmosphere is businesslike, and, being constantly 
in the limelight, she will come very quickly to the attention 
either of the stage or screen, who are looking for new talent. 

So if you feel you are pretty, have a good figure, ambition, 
courage — and above all the willingness to work hard and con- 
scientiously, my advice is not to "Go West, Young Woman!" to 
overcrowded Hollywood, but to "Go East" and see Mr. Flo Zieg- 
feld and Mr. Ned Wayburn. They always need new talent— if it 
is real talent — and if you cannot make good with them, it's dol- 
lars to doughnuts that you are not the type that would make 
good in the movies. 

PEGGY SHAW 






CLEVER CHILDREN 

1. Farina 5. Pat Moore 

2. Mary Kornman 6. Wesley Barry 

3. Bruce Yuerin 7. Miss Carter, school teacher; Bob 

4. Our Gang McGowan, director, and cameraman. 



236 



The Child Performer 



HE child performer, whether it be boy or girl, is, probably, 



the greatest impersonator we know. Possibly, they are 



a bit harder to direct but, when you are successful in 
securing the scene, it is so natural, so free from that almost 
unconscious self consciousness which almost every grown-up per- 
son has in greater or less degree, that you cannot beat it. I had 
never quite realized this fact until I directed Jackie Coogan. 

In a picture called "Trouble" I had a scene with him which ran 
for one hundred and ninety-eight feet without a cut-back, a scene 
of absolutely sustained interest throughout, a fact which, in a 
production dealing with grown-up performers would have been 
practically impossible. In pantomime, this marvelous child actor, 
depicted everything which had transpired in many previous 
scenes and this particular scene was the outstanding feature of 
the picture, the one which received most favorable comment. 
The editor of a representative film periodical commented upon 
this particular scene in a most favorable way and it might have 
been well if many successful legitimate performers could have 
seen this piece of pantomimic interpretation, done with the 
naturalness of a child and yet with all the art of which this 
particular child is so capable. 

I remember, upon one occasion when I was making a serious 
dramatic picture, I was badly worried over trying to secure some 
comedy relief. The story itself and, therefore, the characters in 
the story did not allow of this particular and very necessary 
element. I went home and, after many hours of thought — be- 
cause a lightening of the picture was absolutely necessary — I had 
an idea. Once again, I was forced to fall back upon the humorous 
and dramatic possibilities of a child. 

I selected a scene at a table in a tenement house. There was 
some molasses on the table and an old hat with a feather in it. 
I had a child eating some bread with molasses on it. The child 
was only eight months old and, quite naturally and with no effect 
after training, it had gotten molasses over its hands. Naturally, 
its attention became attracted to the feather and, for two 
hundred feet of film, I had this child trying to get rid of the 
feather which stuck to both hands, covered, as they now were, 
with molasses. It formed a very humurous effect and I have 




237 



238 



THE TRUTH ABOUT THE MOVIES 



never seen, amongst any audience, such really spontaneous en- 
joyment of a bit of comedy interpolation. 

I have found that, very seldom, if ever, a child improvises 
business, but once you have explained just what natural and 
essentially human piece of business you desire, the childish mind 
then begins working with surprising results. And, after all, no 
grown up can quite get the wonderful little bits which, with a 
little coaching and original conception on your part, a child can 
think of. After all, childhood still remains in a great many of us, 
but still we are not children. In the case of Jackie Coogan, I be- 
lieve that he is the cleverest child genius that has ever appeared 
on any screen and probably ever will. He is an expert in impro- 
vising little bits after the original pattern has been laid out. 

The emotional effects to be secured from children are also 
interesting. In all sobbing scenes, performers usually require 
music. Jackie requires music also. He would ask for his favorite 
piece called "Daddy," then he would come to me and put his arm 
around my neck. I would hold him to me quietly and, when I 
felt his little body begin quivering, I would just give him a little 
gentle push into the scene and we had secured the desired effect. 
After a scene which may have run one hundred and fifty feet, 
he would turn to me and say, "How was that. Al. Two-a-day 
stuff?" If it was good, as it usually was, I would tell him it was 
"two-a-day stuff" and if it was bad, Jackie generally knew it and 
would refer to the scene as "five-a-day stuff." Jackie, be it 
known, has been on the stage since he was two years old and 
is thoroughly familiar with the patter of the theatre. 

Jackie's personality is very interesting. One might think 
that, because of theatrical association and artificiality, he would, 
probably, be a very sophisticated child. But such is not the case. 
He is a simple, unaffected child. Oftentimes, while we were pre- 
paring the scene, Jackie would steal away. Something amongst 
the scene interested him. Possibly, he might fall into a sea of 
old "props" and get his face, so carefully made up, covered with 
lime or dirt or almost anything. Then he would return in this 
deplorable condition and we would have to make him up again, 
scrape him off and dry clean him generally, before photographing 
him. 

It is not exactly an easy life working with the child per- 
former. One must love children. It is a work of patience. The 
director must try and remember the time when he was a child. 

Many things have happened since, some pleasant, but, per- 



THE TRUTH ABOUT THE MOVIES 239 



haps, many more unpleasant, which have wiped away the 
idealism, the childishness of imagination that was so beautiful. 
He has to throw back, if possible, the wheels of Life and leave 
himself and his experience at the door of childhood and enter 
that temple with freshened mind and heart. Naturally, this is a 
difficult task because the psychology of childhood is difficult to 
understand, a child's sensitiveness, its dreams and the cute little 
things which they do which the whole world of gentle men and 
women love. Besides, there may be mothers in the audience and 
they are quick to detect inaccuracies and falsities as regards 
children, but of all drastic critics, the children themselves are the 
worst. It is at their feet that we learn the art of criticism, and, 
if a director of children can secure the approbation of children, 
his task can be indeed said to be accomplished. 

In addition, the director must gain and hold the love of the 
child he is directing and children are keen with a keenness of 
instinct and intuition which never misses fire. The director of 
children, therefore, has no easy task. All tasks are hard, but 
this particular one is, probably, the hardest in pictures. 



* * * 



CLEVER CHILDREN 



1. Mary Kornman 

2. Mickey Daniels 

3. "Our Gang" 



4. Mickie Moore 

5. Spec O'Donnell 

6. Ben Alexander 



240 



¥5 



Children in Pictures 



HE average moving picture director or casting agent has 



no patience with an able-bodied man who day in and day 



out drags his child around to the studios trying to get 
work for the baby when he — the head of the family — should be 
out somewhere with a pick and shovel earning an honest living. 

We now and then use children in our Christie Comedies, and 
on these infrequent occasions the supply vastly exceeds the de- 
mand, and we try as nearly as possible to give the work to the 
babies whose mothers need the money. Of course, we try to 
pick the best looking — and best acting — children wherever pos- 
sible. Right now one of our directors, Mr. Mayo, is looking over 
the casting director's list to get a good crawling baby. But 
just because a certain baby happens to fill the bill in this instance 
is no reason why that child will grow up to be a film star. As the 
saying goes, very often the cutest babies make the homeliest 
women. 

I imagine that thousands of parents scattered over our country 
believe that their children would make good in pictures. But 
the success of the striking exceptions such as Jackie Coogan 
and Baby Peggy, should not be taken to arouse false hopes. 
The schools of Hollywood are full of children whose parents have 
brought them here to go into pictures. And the schools are 
where these children should be. It all simmers down to the fact 
that there isn't enough work for talented children to go around 
to the thousands who have applied. 





241 



JACKIE COOGAN 



242 



Some Reflections from the Starship of 
Jackie Coogan 

IT HAS been said that no man can possibly be a hero to his 
valet. On that principle no boy can possibly be a genius to 
his father. The intimacy of contact brought about by such 
relationships is not, as a rule, conducive to hero-worship. Few 
fathers, really, have as much faith in their own sons as others 
have. It is as though a man were so well acquainted with his own 
faults and imperfections that he can't understand how a son of 
his could possibly be any good! Usually it is an outsider that 
opens the eyes of parents to the merits and abilities of their 
children — and that, indeed, ought to be the case, for otherwise, 
parents would be unbearable in their pride. 

I can't say that the above reflections hold altogether true in 
our case, for Jackie, since his infancy, has been so obviously 
different that even Mrs. Coogan and I had been blind — 
our attention to these differences would have been drawn by the 
admiration of strangers. But I cannot say that we saw in him 
what the public discovered — genius! We were not unsympa- 
thetic, however, in acknowledging the honor, and I sincerely trust 
we will not be found lacking in a due appreciation of the respon- 
sibilities entailed — and they are many, believe me! 

The first person to detect the genius of Jackie was Charles 
Chaplin, whose artistic influence, I believe, has left a lasting 
and splendid impression on our boy. It was under Charles Chap- 
lin that this gift for acting, this power of evoking emotion in 
others, was quickly and surely developed. The story of Jackie's 
appearance in the Chaplin picture, "The Kid," is too well known 
to develop here. But it points a truth that I feel cannot be too 
frequently stated. Not parents nor promoters nor directors 
nor picture producers are responsible for the popularity of 
children. 

Parents, justly proud of gifted children; directors and pro- 
ducers ambitious to develop, present and exploit juvenile genius, 
will continue to attempt to force starship on their proteges — 
disaster will always await such efforts. Our own case points 
the truth. Jackie had but a small part in "The Kid" but it was 
developed, expanded and explored by the combination of the 



243 




CLEVER CHILDREN 

1. A crop of Hollywood's finest. 4. Waiting for the gong. 

2. The spirit of Barnum. 5. Taking the count. 

3. "I dare you to knock it off." 6. I'm so proud of you. 



244 



THE TRUTH ABOUT THE MOVIES 



245 



child's genius and Mr. Chaplin's until it became a co-stellar role. 
Then the picture was given to the public, and the unknown, uni- 
dentified child was spontaneously acclaimed by the public. The 
tremendous measure of this success was not anticipated by any 
of us unless it was by Mr. Chaplin. What I am trying to say 
is that stars are made by the public and not by fond, proud par- 
ents, ambitious producers or talented directors. 

Genius, of itself, is not all that is required, either. Per- 
sonality is not enough. Appearance will not suffice. Training 
and education do not determine the success nor does the spirit 
of the child. It is the combination of these elements, the pre- 
cise "mixture" in which they appear plus the "photographic 
value" of the countenance. In short, the elements that go to 
make a child star a success are not to be analyzed nor denned. 
We do not claim our boy is the most intellectual of children nor 
the most cherubic in countenance nor the most amply endowed 
with genius. But he possesses these gifts in degree and measure 
and has the wistful gift of "putting them over." 

JACK COOGAN, SR. 



* * * 



BABY PEGGY 

Mistress of the Art of Pantomime among the screen youngsters 

1. "Oo! Elephants!" 3. Her own charming self 

2. Posing as a lady 4. "They broke my poor Dolly!" 



246 



^9 



What Opportunities Are Afforded Talented 
Children for the Screen 

I OUGHT and do feel the weight of my responsibility as the 
mother of a talented child. Baby Peggy is still my baby 
and all the celebrity in the world does not shake that fact 
or make it obscure. The baby herself supports me in this, for 
she is nothing but a baby after all and her attitude toward her 
mother is that of an obedient, loving child. Indeed it was 
Peggy's capacity for obedience that opened the door toward her 
picture career. 

How many times have I been asked by mothers what their 
method toward bringing their little boy or little girl before the 
camera should be. And I am sure that my answers to these 
women have never been satisfactory, because they consist of but 
three words — I don't know! 

Many people claim careers in pictures are due to good luck; 
others say to opportunity; others maintain it requires the so- 
called "pull." Whether it be good fortune, opportunity, or being 
on the "inside." I cannot answer. Of course, there are less 
opportunities in pictures for a child than a grown-up. The 
modern day picture plots seldom surround a child. I do not 
think there are six pictures made a year in which a child has 
the stellar role, except in the cases of the few children who are 
being starred individually and for whom special stories are 
written. 

I feel frank to say that any child possessing talent has a 
chance for filmdom. However, there are so many children de- 
siring entry into the silent drama and so few channels of entry, 
that many mothers feel discouraged and come to the conclusion 
that unless somebody "opens the doors" there is little if any 
chance. 

I feel I have been about the studio atmosphere to learn one 
thing, and this is something every mother with ambitions for 
her child should know. Do not insist she is a "find." Do 
not make it a point to visit the studio officials regularly. They 
are busy people; they resent this. There are agencies whose 
duty it is to provide the casting offices of the film studios with 
their people. These agencies have people in their employ who 
know. These people know if a child is the "type" for a certain 

247 



THE TRUTH ABOUT THE MOVIES 



249 



picture or not and whether or not the mother or anyone inter- 
ested in the child thinks differently — it is little use to argue. If 
the child has camera talent, it will be discovered, but let the 
discovery come natural. Do not force it. It don't pay. 

A certain producer was speaking to me on this very sub- 
ject. He cited the case of a mother calling him for an ap- 
pointment. The woman was so insistent in her endeavor to 
have him meet her child, that he finally made the appointment. 
When the child was presented to him, instead of saying "How 
do you do" or saying something natural that any child would 
say, immediately turned a somersault and ended in a dance 
pose. This did not make a hit with the official. It was the worst 
thing that the child could have done. Let your child be natural 
always. Don't teach a child to act. Unless acting comes natur- 
ally, it is of no use. Children are the most natural beings in 
the world — let them keep their natural habits for, in the final 
consensus, this is all that really counts. It is what producers 
and directors are constantly fighting for with their big stars. 
Their constant advice is — be natural — be yourself ! 

I might end by telling exactly how Baby Peggy entered the 
moving pictures. I knew a woman living near us who was in 
pictures. I had often expressed the desire to "see the inner 
workings of a studio," and one day she invited me to accompany 
her to witness a special episode in which she was to appear. 
Our nurse had gone to town and I had nobody with whom to 
leave Peggy, so I bundled her up and took her with me. As 
we were standing on the side-lines, watching the scene being 
made, Peggy became very much absorbed with the episodes. 
A gentleman asked me if he could use her in a little scene the 
following day and I answered I would have to consult her father. 
At first he was prone to resent the thought, but, seeing my 
anxiety to see just what the baby could do, he finally told me to 
let her go over and try it. That was the first appearance Peggy 
made before a camera and she has never left the studios. 

She works — if you would call it work — four hours a day — 
never at night and never on Sundays. She considers her work 
play and nothing is ever done or said to let her feel otherwise. 




¥5 



Hollywood and Kids 

OLLYWOOD" and "Kids," to me are synonymous. No- 



where is there a more beautiful spot and nowhere are 



there more wonderful children. I do not mean that chil- 
dren in other places are not wonderful, but when one thinks of 
Hollywood, they think of artists and when I think of kiddies, 
I think of those wonderful boys and girls who are a part of the 
great industry of making pictures. They are unsophisticated 
and unspoiled. They are natural boys and girls, and what is 
more — they have souls. They feel their parts as they act them 
and they understand. They are easy to direct because they are 
interested in their portrayals of life, and to them as to any artist 
in the industry, their heart is in their work. 

I do not believe in babying them after they pass the toddling 
age. When a child asks its first question, that is the time it 
should be answered in an intelligent manner. 

I explain every scene in detail to the child or group of chil- 
dren and answer their questions. It is well worth your time to 
take a child for your associate. I cannot remember a child ever 
asking me a really foolish question. In fourteen hundred chil- 
dren registered with me in my files, I could pick any one at ran- 
dom and send him or her before the camera and the director 
would get the required result which the situation demanded, if 
properly instructed. 

To those who anticipate putting their children in pictures, 
let me say a few words. If you are sufficiently provided for so 
that you are not dependent on the earnings of your child, or if 
you are putting your child in pictures with the same feeling 
that you would have toward the child taking dancing or music, 
then I would recommend registration at the studios, but only 
if you are positive that the child has artistic potentialities. If 
it is for curiosity or merely a selfish desire for financial returns 
from the child's work, you are doing a great injustice to those 
who really have artistic possibilities and who, if given a chance, 
might become writers, directors or otherwise rise to promi- 
nence in the industry. s\ 





250 



THE TRUTH ABOUT THE MOVIES 



251 



Directing Children 



DIRECTING children for the screen requires, first of all, an 
unlimited amount of patience. 
Children have sponge-like minds which readily absorb 
the idea you are trying to get over and their vivid imagina- 
tions carry them along on the same trend of things indefinitely. 
Of course, you can't direct children the same as you do adults 
because you have to figure on the psychology of a child. For 
instance, when I was making one of the Wesley Barry pictures 
for Warner Brothers, I had from fifteen to fifty kids on the lot 
every day. Each day at a certain hour, we'd knock off work 
and choose sides for a ball game. For an hour every day I was 
a kid with them and when it was time to go back to shooting, they 
were willing to pitch in and work like demons for the rest of 
the day. After their recreation they would put forth every 
effort to see my way and do their best, and you see, children 
have practically nothing to unlearn, while adults usually have 
their way of doing things and have a viewpoint with which to 
combat yours. 

I hope I can intersperse kid pictures with my other pictures, 
rather than to devote my time to one type of production. 




H 5 H 5 ^ 




Freulich 

HOOT GIBSON 



252 



^ 



The Cowboy in Pictures 

TIMES have not paled the glamor of the rider of the range, 
and, in pictures, the Western story is still the most popular 
form of screen play. And, as a result, it has come to be a 
generally accepted idea that all Westerns are alike and all West- 
ern actors alike. Perhaps newspaper comic supplements and 
jokesmiths of the funny columnists have done much to implant 
this idea — together with gibes from the "clever" critics who 
gaze on all entertainment through the eyes (so far as their writ- 
ings indicate) of tired Hedonists. 

But this idea is far from true; were it a fact or anywhere 
near the approximation of a fact, the Western drama would 
long since ceased to be what it is today. 

"The Covered Wagon" is a western — an epochal story by 
Emerson Hough, one of America's greatest authors. James 
Cruze made it a picture that today stands as a monument to the 
art of the screen. And the acting of J. Warren Kerrigan, Tully 
Marshall, and that wonderful artist, Ernest Torrence — is this 
anything like what the comic supplements say Western acting is ? 

William S. Hart was a Shakesperean actor before he became 
famous as a Western star. And he became famous for his 
Western roles for just the same reason that he became famous 
on the stage in classics — because he is a great actor. Cliff Smith, 
his director, became famous with him — because Cliff Smith used 
brains. 

Edward Sedgwick, my own director, is another director whose 
brains have made me proud to be a cowboy actor. Sedgwick 
won't let an actor play a part without thinking — without analyz- 
ing — and without knowing everything there is to know about the 
part he is playing. 

The Western picture, perhaps, contains something of the 
elements of a fairy tale — the hero is a hundred per cent man — 
the heroine a hundred per cent sweet and pure — and the villain 
a hundred per cent bad. And, contrary to the usually voiced 
opinion of critics who don't know what they are talking about, 
it is a good thing that the Western picture is the most popular 
with the small boys of the land. Because they are a good in- 
fluence on him. They teach him manliness. They give him, for 
an example, an all-round he-man who teaches a lesson of hon- 



253 



Jack Hox.-e CLEVER C0WBOT S 

Roy Stewart +• Charles Buck T 

lorn Mix and Tony 5 ' Bob Reeves 



254 



THE TRUTH ABOUT THE MOVIES 



255 



esty, bravery, and square dealing; and they show him a vil- 
lain who is everything a boy should not grow up to be — in such 
a light that the boy will always abhor the qualities that the 
villain stands for. 

And you never see sex introduced in a Western play. 

We Western actors are proud of our work — for we feel that 
we are leaving something behind us for the good of the nation. 
We take chances with dangerous horses; we do thrilling stunts 
— and often get hurt. But we are making the world better for 
future generations, and that is indeed something to be proud 
of. Most of us have youngsters of our own; I have, Bill Des- 
mond has, Jack Hoxie has — and we'd never think of portraying 
a role that would set a bad example to children. 



HERE is and always will be a demand for cowboys. The 



competition is very keen, but a man who can handle a 



rope well, ride and has a good disposition can make a 
living in pictures. In fact, there are very few good riders who 
come here who don't work regularly or regularly enough to make 
it worth while. It's much pleasanter being a cowboy in motion 
pictures than on the ranch or the range. I would advise all 
the cow hands back in the hills to come on to Hollywood and let 
the younger generation handle the cows back there a while. 
Don't forget that every cowboy must have his own personal out- 
fit, meaning chaps, boots, spurs, pistols, cartridge belt and hol- 
ster — the horse, saddle and bridle will probably be provided for 
you. Don't forget that you've got to do some harder riding in 
motion pictures than you ever did on the range. You've got to 
take some chances in this game if you want to get by. 

There is no reason why you shouldn't be galloping over the 
hills of Hollywood chasing a camera instead of shorthorn steers 
back in the tall timber. 




Another Version 




TOM MIX 



256 



The Horse 



SPEAKING of horses, I could never determine just how much 
a horse really reasoned, or how much he reached conclu- 
sions through an intuitive sense. I do know, if in a 
moment of crisis, you trust your horse, you cannot go far wrong. 
Of course, there are dumb horses and smart horses, just like 
human beings. There are horses that think slowly and act 
slowly, while others have minds that operate with the rapidity 
of a machine gun. 

You usually find cow ponies are mighty smart. Take Tony, 
for instance, Tony is not, as many seem to think, a trick horse. 
Tony is just naturally smart. I don't teach Tony. I quietly 
show him what we've got to do to make a scene and Tony does 
the rest. He understands. 

A smart horse is very receptive and quickly reflects the mood 
of his rider. When you get a horse in the morning and you feel 
out of sorts and a bit cranky, you are going to ride a cranky 
horse all day. If, on the contrary, you start the day feeling at 
peace with yourself and all the world you will find your horse in 
the same joyous frame of mind. You lose your temper and your 
horse loses his. This may seem hard to believe, but I have seen 
it verified day by day, and any ranch hand will tell you it is so. 

A horse has an intuitive sense of danger, and a rider who 
knows the horse under him, quickly gets it. Nine out of ten 
times, left to himself, the horse will find the safe way out. 

People urge that a horse loses his head when he runs back 
into a burning barn. The facts are that a horse merely runs back 
into his own home. You go out to Mixville where my horses are 
and rush wildly into the stalls with great excitement, a lot of 
yelling, cut halters and try to drive out the stock, and you will 
find they will rush back into their places just the same, fire or no 
fire. The horse doesn't understand what all the excitement is 
about. He only knows that strangers are trying, with no gentle 
hand, to drive him out. He knows it is his home, and he simply 
argues to himself that he'll go back where he belongs. 




257 



WM. S. HART 



258 



^9 



¥9 



Something About the Cowboy in Pictures 

* XACTLY as there are always new gold mines for the dis- 



coverer, so do I firmly believe there are still new trails 



1 - to be blazed in that ever-popular form of photoplay since 
the beginning of motion pictures — the western drama. 

For all the countless number of "westerns" which have been 
produced, I believe that there is a rich vein of romance which 
has been untouched, a vein of glittering wealth which will yield 
new stories and characterizations for the screen. 

The popular conception of a western picture is one in which 
the chief element of thrill is hard riding, expert roping and 
flashing gun-play. These things all have their place, but there 
is a deep wealth of drama that is less generally known. The 
cowboy of the ranges will always be popular, and rightly, for 
he was a romantic figure. 



ATURE has helped me. Nature, in fact, is everything to 



me and I owe everything to it. I see Nature in every- 



thing, men, horses, dogs. I love to take long trips and 
see what, perhaps, a great many men do not or cannot see in the 
beauty so plainly visible. Pictures, to me, are the expression of 
the great out of doors. What success I have achieved is, there- 
fore, due to the love and pleasure I feel for those things which 
are given to us to express. A great many unwritten dramas 
still exist in the heart of nature. A great many pictorial beau- 
ties that have been photographed repeatedly, still remain to be 
photographed and interpreted because there is a great secret in 
the very heart of nature that is exceedingly hard to get at. 





The Great Out-of-Doors 





259 



^ ¥5 



Horseflesh and Drama 

WHEN a big Western picture is made, and the public gasps 
in awe at the thrilling rides, the daring leaps, and the 
rest of the thrills that go into the making of the story, 
all praise is for the star, the director, the actor. 

I want to say a few words about one of the most important 
factors in the play — and who gets almost none of the credit. I 
want to ask for a little applause for the actor's horse. 

The horse in motion pictures has a college education. They 
call it being "picture wise." Careful training induces an un- 
canny, almost human intelligence in the horses used for the thrill- 
ing leaps, the daring stunts, that the dumb actors are compelled 
to perform. A star may be "doubled" for a dangerous picture. 
A horse can not. 

I have two horses which I have often trusted with my life. 
I know those horses are my friends — that they would die before 
endangering me; I know that when I depend on them to make 
good, in no matter what dangerous trick, they will come through 
with flying colors. 

It's done by making your horse your pal. The same applies 
to "Bunk," my big dog, often seen with me in pictures. You 
can't drag any horse out of a stable and do any trick with him. 
The horse has to know the rider personally — know every move 
and every shift of balance of his body — and the rider has to 
know every trick of the horse. I couldn't do with Tom Mix's 
horse the things he does — his horse wouldn't let me — and even 
if the horse were willing I would not know his way of working. 
Horses have their individual technique — so have riders, and the 
two have to become acquainted — grow to really love each other 
— before a perfect combination is reached. 

Every cowboy has his own pet mount — in motion pictures 
and on the range. And these horses in pictures deserve the 
greatest of credit — after all, they're the support of the pictures. 

I'm not a writer — or perhaps I'd get poetical about the horse 
being the cowboy's best friend. But there's more truth than 
poetry to it — or there'd be more broken necks than successful 
Western films! 




260 



¥5 



¥5 



What Is a Cowboy in Pictures 



IT seems the world will always like a hard rider. It seems 
that it will always love the West. Maybe, they like it be- 
cause we like it so much, this country where you can ride and 
breathe deeply and — be yourself. In becoming a cowboy, just 
bury your dress suit and quit eating mayonnaise and lose your 
stomach. Get yourself a horse, learn how to keep on him if he 
bucks a little. In order to complete the illusion, buy yourself a 
Colt "45" with a silver butt and practice twirling it on your 
fingers. You must also cultivate a bad look at times, as if about 
to take a human life. You must have lots of courage, too, and it 
isn't a bad idea to keep your hair cut in order to be popular with 
the ladies, because the ladies always count. A man couldn't 
very well be a cowboy, a hard rider and full of courage without 
liking the ladies. Having done these things, you are now ready 
to become a cowboy. Don't let locale worry you. If you've deter- 
mined to become a cowboy, nothing will hold you back. You 
don't have to give up all your pleasures, your hair tonics and 
things, but if you are an Eastern cowboy, maybe this country 
will grow hair on your bald spot and make you feel something 
you never felt before. s?u „ /j , 



What Are the Great Open Spaces 
ISTEN ! Health, courage and stick-to-itiveness is what does 



it. See whether you've got thin lips that can look deadly, 



a good man's figure and a clean look. Be able to draw a 
gun and fire it — not like a table fork. Can you wear boots like 
you didn't have any corns on your feet. Can you fight. Well, 
just try it. It's not easy, but it has been done. 






261 





262 



^5 



¥9 



How to Become a Serial Man 

HERE'S always room for a good serial man. It's hard but 



not too hard, to prance around a drawing room in a dress 



suit and tell some coy maiden that you love her and wish 
to provide the necessaries for the rest of her natural life, but it's 
a bit different to tell her the same thing on a church steeple with 
some villain after you, crawling slowly over the roof. I have 
several broken ribs and a couple of arms slightly bent but I like 
the serial. 

You see, we do these perilous stunts ourselves in many in- 
stances. If you haven't got courage when you go into serial 
work, you will have when you come out — if you come out. If 
you succeed in gracing this planet for some time, you'll like 
serials. They are hazardous, fascinating and intensely inter- 
esting. You wrack your brains for some new and hazardous 
feat that will cause the public to leap in its seat. Having ac- 
complished this, you are satisfied — until the next time. 

The American public likes serials and excitement. We try 
to give good serials and good excitement. As long as we have 
the strength, we shall continue to do so. My compliments to you. 



Do You Know What Serials Are 
HE serial means hard work, danger, adventure and thrill. 



Women have to do things in serials as well as men. The 



men and women who do serials have to be as adventurous 
and as thrill loving as the man who writes them. One minute you 
are leaping from a church tower, the next you are racing a rail- 
road train, then you may be dashing through some tunnel into 
the river. You can't tell from day to day. Unless especially 
qualified, I wouldn't advise women taking up serial work. It's 
hard, dangerous and hazardous. 







263 




264 



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Chaps and Sombreros and Spurs — What Do 
They Mean 



HEY bring back the old life of the west, the life that mo- 



tion pictures keep alive. The great out of doors, when 



men fought and rode and lived hard but healthy. Being 
a cowboy in pictures is a great life. You live among horses 
and everyone with a soul loves animals. You breathe fresh air 
and you see the most beautiful spots of nature every day. You 
work hard. You are tired at night. You eat well and sleep well 
and earn your money. If you have the determination and the 
grit, try it. But you must ride well, rope well, and the rest 
will come easy. 



Is the Serial Here to Stay 
HEN complicated drama and innovation have spent them- 



selves the serial will always go on because it is founded 



on thrill, excitement interest and — human events. It 
is a bit accentuated but melodramatic accentuation is always 
desirable as a form of entertainment. It has been proven so. 

More than often, we do the stunts with which the public 
don't credit us. Perhaps a lion may take a fancy to have you 
for breakfast or a tiger may wish to have a tete-a-tete alone 
with you. Tigers and lions sometimes get that way, and it's 
all 'in the day's work when you are in serials. If you are an 
athlete, in full possession of a rare degree of courage, absolutely 
fearless, take a chance at the serial. And few women have this 
necessary degree of purely physical courage. 






265 




Edwin Bower Hesser 

ANNETTE KELLERMAN 



266 



¥5 



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How to Attain Health and Personality 

VERY woman's greatest assets are health and personality. 



Only in rare instances has extreme beauty without per- 



sonality brought success to its owner. The development 
of a girl's body also means character development. Bodily 
development means also beauty because beauty is health and 
health is beautiful. A girl with these assets will attract at- 
tention for she has poise, confidence and assurance. Bodily de- 
velopment and care mean gracefulness of carriage and freedom 
and un-selfconscious movement. 

My first lesson has also been one that taught faith. Faith 
in God, faith in yourself and faith in your body mean success 
because health is happiness and happiness is life — real life. 
Therefore, it is essential that you cultivate health. It means 
strength, a clear mind and your character, combined with your 
personality, will make you an outstanding figure which will at- 
tract attention and when once you have attracted attention you 
have stepped upon the first rung of the ladder of fame. From 
thereon it rests with you as to how far you will go. It is far 
more difficult for you to remain on top than it is to get there. 

I have instilled a thought into the minds of girls and women 
that the law of life is a very stringent one. If you adhere to 
it religiously it will take you just where you wish to go. If you 
deviate then you must pay. Health and happiness come to 
the girl who will pay attention to her body. To be famous you 
must be different and, lastly, your mind must be sufficiently 
intelligent to make the proper use of these qualities which I have 
pointed out. But I must also tell you that the combination of 
these qualities is a rare one and that is why there are so very 
few who really achieve fame. There is only one explanation I 
can give you which will answer everything and that I tell you 
in one little word — Ambition. In order for you to really become 
acquainted with ambition you must cultivate determination. 
The two synchronize and the result is certain if you follow 
everything religiously. .7 





267 



Snowy Baker 
Gordon White 
Billy Sullivan 
George Walsh 



FAMOUS ATHLETES 



268 



5. Reginald Denny 

6. Jack Dempsey 

7. Fred Thompson 

8. George O'Hara 



What Is the Value of Athletic Sports as a 
Training for the Movies 

FROM the earliest childhood days that I can remember, I 
have been fond of out-of-doors sports. 
I cannot remember how young I was when I first fell 
into the habit of fifteen minute exercises every -morning, but I 
was a very small boy, and habits of caring for my body were so 
thoroughly drummed into my ears that I can take no great 
credit for them. 

Even in stretches when I get plenty of exercise as a part of 
my daily screen work — when swimming and performing other 
strenuous feats before the camera, still I cannot get away 
from the morning work-out habit. 

Though I may be in a hurry, I would as soon appear without 
my collar as to sit down to the breakfast table without having 
first run through the routine which seems to start the day right 
for me. 

If more men knew how their appetites would be sharpened 
— how much more zest they would have for their daily tasks, 
and how they would be led instinctively to an enjoyment of out- 
door sports that they now neglect, I am sure that they would will- 
ingly adopt the before-breakfast exercise habit. 

Before I stop talking about this, which is a sort of hobby 
with me, I want to call attention to the ease with which the 
exercise habit can be acquired. 

No expensive trappings are required. Just throw open the 
windows. The fresh air is very vital. 

I do not promise that these will make any man a Hercules 
over night, but I do promise that one will feel a lot better, and 
if the plan is followed until a habit is formed, it will work won- 
ders in muscle and body building. 

Because I am training in this intensive way, I am very care- 
ful about what I eat — simple foods, selected for their nourishing 
qualities. I do not drink coffee nor tea, because I have never 
tasted them — and on the theory that one never misses what one 
has never had. I have never tried tobacco. Of course, I have 
banned stronger stimulants, such as alcoholic drinks. 



269 




RICHARD DIX 



270 



¥9 



Logic Advice 



CLEAR brain can live only in a clean body," says an old 



proverb. I heard it first when I was a child, and I never 



forgot it. It was good advice and I am passing it on to 
other young men — no matter what their chosen profession. 
But it is especially valuable to the actor. 
Keep your body in the finest trim. 

Swimming, boating, horse-back riding, tennis, golf, motoring, 
mountain climbing — all will help the actor. 

If the actor cannot find opportunities for these sports — let 
him join a gymnasium. 

When I am in California I live outdoors as much as possible. 

When I am working in a big city, I choose a gymnasium the 
same day that I select my hotel. 

When the blood tingles, when the muscles throb, when the 
skin feels alive and the head feels clear, the player is ready to 
perform any kind of role — rugged Western type or sophisticated 
evening dress character. If the actor is not in the best physical 
condition, his portrayals will be flat and uninteresting. 

I never begin a day's work without beginning with a regular 
physical tuning up. 

I never end a day's work — and sometimes the day runs late 
into the night — without another systematic physical training. 
This puts me into condition for an evening of study or quiet 
relaxation. And it adds the joy of good health to the pleasure 
of playing a good role the next day. 





271 



Pugilism in Pictures 

I HAVE always believed that the world takes a great interest 
in athletes because they are very clean living men. The 
science of pugilism is not one of entirely brute force. The 
brain, the heart, the thinking portion of a human being enters 
very largely into it. It is like a carefully planned campaign 
and then there is the excitement, the applause, the universal 
interest attached to a triumph. A pugilistic picture is an incen- 
tive to those who think they cannot be athletes and also to those 
who are athletes but wish to improve. After all, it is the science 
of health and of dominant physical force. I intend bringing 
into pictures the same spirit which carried me forward in my 
ring battles and I think that determination, planning and phys- 
ical prowess may prove interesting. At least, I hope so. 




Technique of the Prizefight Picture 

KNOWING that nearly every man and woman in Anglo- 
Saxon countries is familiar with the ethics and technique 
of sports, it becomes a very difficult matter to stage a 
prize fight picture so as to adhere to the laws of realism. There 
is a great deal of latitude as regards dramatic offerings, but 
there can be but little latitude where two men go into a ring and 
fight a supposedly realistic battle in front of a camera. Every 
detail must be perfect, every movement of the fighters must be 
carefully rehearsed. They have a general idea of their defense 
and a general knowledge of the tactics and technique of their 
opponents. 




272 



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Is a Fine Degree of Health Necessary 
for Pictures 

FELL, I should say so. Health is absolutely essential, 



Not the kind that means "I feel fairly well today — 



but." I mean that bounding, buoyant health that 
means steady nerves, keen interest and real personality because 
health, to a large extent, is personality. Don't imagine that 
an actor spends his time poring over a manuscript or burning 
midnight oil. If he has good health, labour means nothing to 
him because labour becomes his "middle name." Health, as the 
result of normal living, careful diet, sensible enjoyment, plenty 
of fresh air, is the kind of healthful personality which succeeds 
in pictures. It is a nerve racking business. The long waits, the 
lights, the thousand and one trivial things which enter into 
picture making; these are what test a man's nerves and his 
health and, for this labour, the man or woman who figures on 
making a serious try for pictures, MUST have a high degree of 
health. 



PERSON that is called upon to risk his life several times 



a week and eventually grow to like it. Stunt men are 



A born, not made. If they weren't stunt men in pictures, 
they would have to be stunt men in something else — steeple 
jacks, for instance, or auto racing drivers. We like excitement. 
Without it life stands still. If you have nerve, courage, strength, 
try the life of the "stunt" man. It's interesting as long as it 
lasts, and we hope it will last a long time. 





What Is a "Stunt" Man 





273 




RUDOLPH VALENTINO 



274 



Keeping in Condition 

GONTRARY to popular opinion, it is just as necessary for 
the motion picture player to keep in condition as it is for 
the business man or the athlete. Perhaps more so, for 
the camera is very exacting and to appear before it in poor 
physical shape is ruinous to the actor. 

An actor must always look to his personal appearance. It is 
his stock in trade. And there is no surer way to keep up appear- 
ances than by systematic exercise. It need not be strenuous, 
but it should be thorough and regular. When it is possible, I 
always make it a point to get in at least two afternoons a week 
at outdoor exercise. I am particularly fond of horseback riding 
and sometimes when I am not working at the studio I ride every 
day. 

When in California, I spend fifteen minutes before break- 
fast each day doing setting-up exercises similar to those used in 
the army camps, and after that I take a plunge in my outdoor 
pool. This puts me in great shape for a hard day's work before 
the camera. Anyone who doesn't think it is hard work acting 
before a camera should try just a few days of it. 

My last picture made greater demands on me than any pic- 
ture I have ever made. It was not only necessary that I should 
be in the pink of physical perfection, but also that my fencing 
should be as near perfect as I could make it, for Beaucaire 
was the most expert swordsman of his time. To insure the fact 
that I should be at my best I went into an elaborate course of 
training. 

Spasmodic exercising does very little good. To get the best 
results one should be as regular with his training as with his 
meals. But exercise alone is not the only thing to help keep 
one in condition. A man should have mental relaxation as 
well as exercise. By that I mean a hobby has a great deal to 
do with keeping fit. I find I can forget the worries of the studio 
through my favorite hobbies easier than in any other way. Daily 
exercise should be a cardinal rule in every man's life. 




275 



DOUGLAS MacLEAN 



276 



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The Manner in Which Dangerous and Thrilling 
Stunts Are Performed in Pictures 

W E JUST take our courage in both hands and do them. 
There is a kind of "esprit de corps" in motion pictures 
which makes people do things they are afraid to do, just 
as soldiers take chances in the heat of battle for the honor of 
the regiment. There's only one way to really thrill your audi- 
ence — that is to be sincere — to forget trick photography and 
fakery and really do the things the audience sees you do on the 
screen. 

The trouble with the audience is that it has become so edu- 
cated into the mysteries of cinematography that it refuses to 
believe anything it sees on the screen. People go home from a 
photoplay and lie awake half the night trying to discover how a 
man could ride in a runaway automobile at such a furious pace, 
fall off a bucking horse and perform scores of other stunts which 
the film star must do. It usually looks so risky that the audience 
simply won't believe what they see before their very eyes. 

The picture fan smiles knowingly and says: "Trick photog- 
raphy." That explains it all. No, he doesn't elucidate. He 
doesn't pretend to know enough about the technical side of it to 
say precisely how it is clone — but he just knows that it was 
tricked because there isn't anyone willing to take the chances 
necessary to secure that result. 

This is just where the fan is mistaken and where a little 
knowledge is a dangerous thing — because it entirely destroys an 
appreciation of the real dangers which motion picture players 
must take to give real entertainment and thrills to the motion 
picture fans of America. Motion picture comedians do take real 
chances. 

There IS such a thing as slow cranking of the camera which 
gives the impression that things are moving at a much greater 
speed than they really are. But the possibilities of this trick 
and the ease with which it can be detected make it scorned by 
the sincere producer. 

When you see a horse galloping with long strides or rearing 
and bucking viciously with its ears flattened, don't think for a 
moment that the animal is doing this in slow motion so that 

277 



W. T. Seely 

CARL MILLER 



278 



THE TRUTH ABOUT THE MOVIES 



279 



the rider won't be in danger of falling off. I defy any man to 
make a horse double its legs under it in the well-known action 
of the gallop, if it is moving at an easy canter. 

I wish that some of the "wise ones" could see a motion pic- 
ture comedy in the making. I, myself, have wished scores of 
times that there was some kind of trickery which would let me 
out of doing some of the things which the scenario called for. 

If I had not been familiar with horses, I am sure 'The Hot- 
tentot" would never have been produced with me as the star. I, 
for one, would never have ridden that "locoed" beast of a horse 
unless I had had some knowledge of horsemanship. It may have 
been lots of fun for the audience, but not for me. It was the 
wildest ride of my life. A whole lot of things happened which 
never got into the picture, partly because an audience can be 
expected to believe some things, but not everything, and there 
were some jumps in that steeple chase which I, myself, wouldn't 
believe I had done when I saw them projected on the screen. In 
trying to take one fence, my mount touched the top rail, pitched 
forward into a soft muddy spot and recovered its feet. But I 
was deposited flat on my back in a pool of muddy water so far 
from the fence that I won't believe to this day that I really was 
thrown that far. No — this scene isn't in the picture because at 
that particular jump I was supposed to stay on the horse. For 
the second trial I insisted on removing the top rail. It was all 
right to make it thrilling, but I wanted to play in the final scenes 
with two good legs and not on crutches. 

Producing "Going Up" was equally thrilling. Some people 
may have deceived themselves into believing that some of the 
scenes were taken on the ground, so dizzy and hair-brained was 
the flight. But how it was that the ground could be seen about 
4000 feet underneath the plane is not explained. Up to that time 
I had never been up in an airship and now that it is all over and 
I have time to think it out calmly, I don't think I shall ever leave 
the ground again. 




¥5 



^5 



Does the Written Application Pay 

BY each Australian mail I receive letters from the cities and 
bushland districts of my homeland. Some are from friends 
and acquaintances, and others from young fellows I never 
met. They ask for advice as to their prospects in the movies. 
They all want to come to Los Angeles. They believe, in most 
cases, a fortune awaits them as athletic stunt stars. It is only 
a matter of "getting a chance," is the honest conviction of most 
of these ardent young men of Sunny Australia. 

This is the fine type of manhood many of my letters come 
from Australia. Some are owners of stations (ranches), 
some in good assured positions with rosy prospects. One, a 
young doctor practising in a country town, others in various 
stages of what should result in successful careers. In some 
cases they are willing to sacrifice the substance for the shadow. 
To the expert horseman and versatile athlete the making of 
stunt pictures is most fascinating. There is adventure and a 
vigorous glamor about it. Added to this we all have a natural 
vanity that the thought of exhibiting our physical prowess on 
the screen plays up to. Having been through the mill I have 
feelings in common with many of my picture-struck friends. 

Owing to lack of space it is not possible to express in the 
way of humble advice all I wish to, but briefly, the following 
is the gist of what I write to those who think well enough of 
me to write for advice. 

"From observation and experience it seems the picture- 
making game is one of the most difficult of all professions to 
break into ; once in it is only one in many thousands who attains 
any real and lasting success. At best a career in pictures is 
precarious. A long, hard apprenticeship is necessary for success 
finally. If your present position and purse can afford a trip to 
Los Angeles, it will be an eye-opener. It is a wonderful place; 
give yourself time to look over the movie situation yourself." 
Possibly my advice is wrong because there is always room. 




28C 



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^3 



What Is Force in Pictures 



HERE are persons in this world whose personalities are 



negative. Force is the expression of a positive personality. 



Force is the expression of qualities of sincerity, optimism, 
undaunted effort, and undying courage. The picture business is 
a battlefield upon which a rare degree of courage is necessary. 
You fight your battle and it may last for a year. There are no 
brass bands connected with it. You make your own brass band 
— inside yourself and every day you go into the trenches for an 
engagement. After you are somewhat battle scarred and you've 
used your force, they will make you a General. 



Do You Make a Habit of Smiling 
RACTICE smiling. It's a great habit. After a while you'll 



believe it yourself. Others like to see it. They have trou- 



bles of their own. Everyone has. Make a habit of smiling 
when it's raining, particularly. This is very difficult, sometimes, 
but laughter is a habit. Treasure it because it always reaches 
the silver lining behind the cloud. Tell people about the good 
things that have happened to you, your health, your digestion, 
your optimism. There are a lot of people in this world whom 
you can consult who will help you when you are troubled. We 
all go to them once in a while, but Casting Directors have troubles 
of their own. Smile, even if it cracks your face. The light of 
a smile illumines the pathway to success. 







281 




THE CASTING DIRECTOR 

1. Mr. Mclntyre interviewing an applicant for employment 

2. Making a selection from his photograph file 

4. Robert B. Mclntyre, Casting Director, Metro-Goldwyn-Mayer 



282 



- The Casting Director 

THE position of casting director is the most difficult in the 
studio. His is a thankless job, with many trials and an- 
noyances. In the first place the man who selects the cast 
must himself be an artist, actor, cameraman, director, producer 
and a keen buyer. The public cannot realize his enormous task. 

The casting director, told to cast a picture, must select play- 
ers not only who can act, but who can look the part. And look- 
ing the part is a very nebulous affair. The ideas of the director, 
the author, the adaptor and the casting director as to how a cer- 
tain character must look, are apt to be widely different. 

Being a dealer in faces and forms, the man who selects play- 
ers must understand human nature ; must know how to cast the 
proper man to portray a Chesterfield, and likewise the fellow to 
do a burglar's bit. 

The more intimately one knows humanity, the better one is 
qualified to select players, for he knows men, and instantly re- 
cognizes the type able to portray a required character. There- 
fore a casting director should be a man of the world. 

Casting office files, of course, contain thousands of faces, and 
records even more detailed than the criminologist's so that when 
the visualized face appears on the mind-screen of the casting 
director he can at once secure this data by naming the person on 
type and consulting the files. 

But the prime requisite of the casting director is to be able 
to imagine the character in real life, than to be able to pick him. 
Sometimes he scans a hundred records, searching the faces of 
actors. Then suddenly he recognizes the right type. Perhaps 
an obscure personality is engaged and works successfully. Then 
the world gets a new "star." 

At any rate, it can be seen by anyone thinking of breaking 
into the movies via the casting department, that the one great 
requisite is to be able to pick a type as the right one for the role. 



283 




284 



¥5 



What Should Be Your Personal Qualifications 

r I ^HE duties of a casting director are very arduous. He 



reads a manuscript, visualizes his types and his people — 



x then tries to get them. He sees hundreds, until his brain 
reels and his eyes grow bleary — looking and not finding. Gradu- 
ally there comes to him the conviction that three-fourths of the 
people who apply have never taken the business seriously. They 
regard it as an easy road to money. Very few of them are 
accentuated by the primal wish to make an artistic success. The 
moment a person with an education and personality enters a 
casting office, that person is welcomed. If a casting director 
could make a selection of seven actors and actresses in a day, 
he might be able to take the afternoon off. If he can make the 
selection of this material in a week he is lucky. Yet, there are 
dozens there applying and, sometimes, he deludes himself that 
out of those dozens, the material he is looking for is easy to find. 

Persons are constantly coming to Hollywood without any more 
chance to enter the picture business than they have to become 
president. Oftentimes, they haven't the slightest talent, but 
many times they have a most exaggerated idea of their own 
ability. They have gotten this idea back home and while their 
intentions are good, their avocation for the picture business is 
not good. Search yourself. Be natural. Be human. Get a 
reasonably good wardrobe. Ask someone about yourself who is 
unbiased. Your friends will always tell you you are wonderful. 
Then you will be prepared to walk the path to success in this 
difficult business. 





285 




286 



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^5 . 



A Day in the Life of the Casting Director 

T^HE Casting Department window opens at 8 o'clock every 



morning to discover a crowd of people of all types and 
professions waiting in the hope of getting a "bit" in a 
picture. They are fat and lean, rich and poor, handsome and 
otherwise, of all ages, nationalities and denominations. 

There is an eager rush as the window opens and from then on, 
throughout the day, I have to listen to pleas and stories recited 
in the hope of obtaining work. Some of them are amusing, some 
pitiful. In the latter class are those of men badly in need of 
work, practically destitute and with families to support. Where- 
ever possible these men are given the preference as extras. 

Generally late in the afternoon appears a different element — 
well-to-do residents of Hollywood and tourists, whose chief im- 
pulse in seeking work in pictures is prompted by their curiosity 
to see the inside of a studio and their ability, later, to tell the 
home folks all about it. They want to get a glimpse of the stars 
and find out how pictures are made, but they rarely get past the 
barriers unless they have a special permit. 

Most of the girls who apply are keen on wearing the fine 
gowns which are used in some of the better society sets. There 
are appointments all day long with people who make this sug- 
gestion. 

New comers are always advised to register with "Screen 
Service," in Los Angeles, where thousands of persons of all 
types are registered. Many of the applicants find this discourag- 
ing, not knowing that our office files are filled with registrations 
of experienced people only. The same advice is given to people 
who write us fan letters from all over the country — people who 
detail their experience, or inexperience, and in many cases ask 
us to send them their fare to Hollywood, "as they know they 
will make money for themselves and the company." 

If the majority of those who plan on making a trip to Holly- 
wood with the sole idea of getting into pictures knew the hard- 
ships, in many cases the privations, and always the hard work 
attached to the picture game, I am sure they would stay close 
to the home fires and not venture to Hollywood except on a sight- 
seeing tour. — — ^ 





287 



Paramount's Casting Director 



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¥9 



Duties of a Casting Director 

IKE all other branches of the industry, the activities of the 



casting director are very complex. Aside from his 



apparent routine of securing people for a director, he 
must be familiar with the director's likes and dislikes and, in 
order to give the most valuable service possible, he must, in 
securing people for the director's scrutiny be sure and get those 
who have a reasonable chance for success with him. Otherwise, 
the director is wasting valuable time in looking at people who 
have failed before he saw them, so far as he, personally, is con- 
cerned. The position of Casting Director is, therefore, one that 
entails many more activities than are generally supposed by the 
public and also by many within the industry itself. The Casting 
Director must be furnished a manuscript and he must read and 
digest the story and, many times, he makes very valuable sug- 
gestions as a result of his personal visualization. Were he to 
confine himself to merely selecting people to see the director, his 
activities would be null and void, because anyone can do this and, 
in all probability, he would cause a high paid director to waste 
more time than he can afford to waste. In fact, such a person 
would, undoubtedly, be a stumbling block. 

Again, a Casting Director must try and make a specialty of 
courtesy, realizing that the people who apply for positions with 
film concerns are human beings and that he can save them many 
a severe heartache. 





288 



¥5 ¥5 



CASTING DIRECTORS 

Ben Wilson Studio. Ashton Dearholt, Casting Director 

Buster Keaton Studio Lou Anger, Casting Director 

Century Studio... ....Bert Sternbach, Casting Director 

Chas. Chaplin Studio Charles Chaplin, Casting Director 

Christie Studio. Harry Edwards, Casting Director 

F. B. 0. Studio Individual Casting 

Fine Arts Studio Individual Casting 

Fox Studio James Ryan, Casting Director 

JMetro-Goldwyn-Mayer Stud Robert Mclntyre, Casting Director 

Hollywood Studio Individual Casting 

Horsley Studio Individual Casting 

Ince Studio Individual Casting 

Lasky Studio Tom White, Casting Director 

Mayer Schulberg Studio Individual Casting 

Pickford-Fairbanks Studio Individual Casting 

Principal Pict. Corp. Studio Individual Casting 

Russell Studio Individual Casting 

Roach Studio Mollie Thompson, Casting Director 

Sennett Studio... ..Lee Hugunin, Casting Director 

-United Studio.. .Individual Casting 

Universal Studio..... Fred Datig, Casting Director 

Vitagraph Studio Duane H. Wagar, Casting Director 

Waldorf Studio Individual Casting 

JWarner Bros. Studio Individual Casting 

BOOKING OFFICES 

Artists' Booking Exchange 6015 Hollywood Blvd. 

Inglis, Grace N 6324 Hollywood Blvd. 

American Booking Agency 663 N. Western Ave. 

Lancaster, John 6015 Hollywood Blvd. 

Lichtig & Englander 6372 Hollywood Blvd. 

Mutual Booking Service 1096 N. Western Ave. 

Rothwell, Ben 6372 Hollywood Blvd. 

Screen Service 322 So. Broadway 



289 



^5 ¥5 



The Quickest Way of Securing Employment 

in Pictures 

I HAVE probably had as diversified an experience as anyone 
in this business, looking for employment. I came from Italy 
about two years ago, after having had some experience in 
Italy. After my arrival in Hollywood, I spent about six months 
going about looking for work. My idea in giving this infor- 
mation to the public is to benefit others by the experience I have 
had. I have known people who have spent months of untiring 
but misdirected effort seeking employment in the studios when, 
as a matter of fact, they could easily have secured employment 
and much more quickly had they had information as to how to 
properly proceed. One of the first moves is to find out whether 
you are qualified. By this I mean just what the Casting Director 
wants to know. The following is a list of questions Casting 
Directors and Service Bureaus require answered. 

Name Daily Salary 

Address Dance 
Phone Class 
Date References 
Age Swim 
Weight Ride 
Height Drive Car 

Complexion Stage Experience 

Eyes Screen Experience 

Hair Wardrobe 
Nationality Type 
Weekly Salary 

For instance, I am an expert swimmer, fencer, horseman, polo 
player, boxer and dancer and yet I have had a great deal of diffi- 
culty. Most people are under the impression that the casting di- 
rector does all the engaging. This is not true. The service 
bureaus which have been established in Los Angeles and Holly- 
wood serve the purpose of engaging large numbers of people and 
thus save the casting director the trouble of personally examin- 
ing each one of these applicants. Therefore, to register with all 
the reputable service bureaus is very essential. In addition, it is 

290 



THE TRUTH ABOUT THE MOVIES 



291 



very desirable to telephone the service bureau each evening, keep- 
ing constantly in touch with the bureau to find out what work 
has come in during the day. By this means, they will eventually 
come to know you. Before many days, in all probability, you will 
secure some sort of work which will give you experience. 

Of course, I would suggest that you register with the casting 
director also because, there is a possibility that you may make a 
tremendously favorable impression at a first glance. It has been 
known to happen. It is also essential that one has a complete 
wardrobe, modern and up-to-date. The essential thing is to get 
your first opportunity. After that, things come comparatively 
easy — if you have the talent. You will learn to know direc- 
tors and meet people. Above all, try to please the director and 
get his angle as quickly as possible. Out of a thousand people, 
it is possible that the eagle eye of the director, always seeking 
talent for development, may see you and your chance has come. 

At the present time people must be talented. If you have 
ability, intelligence, determination and the faculty of not letting 
yourself become disheartened and disgusted, you will, eventually, 
win. 





Edwin Bower Hesse 

ALMA RUBENS 



292 



^9 



¥5 



Salaries Paid in Motion Picture Business 

NATURALLY, a great many inquiries are made regarding 
this all important subject. Therefore, a list has been 
compiled which is approximate but which is also as nearly 
exact as comparison with differing scales of salaries can make 
it. In this industry, as in any other, salaries have been stand- 
ardized as much as possible and these salaries very rarely fluc- 
tuate except in cases of extreme business depression or re- 
adjustments sometimes happening in every business. 

I might mention that the standard price for a good free- 
lance continuity is SI, 500, usually payable in the following 
manner One-third upon signing of the continuity contract, one- 
third upon delivery of the completed scenario and one-third upon 
the director's approval. 

The following is an approximate list of weekly salaries paid: 



Production manager 


From 


$300.00 


to 


$1,500.00 


Director of production 


a 


150.00 


a 


1,500.00 


Scenario editor 


a 


300.00 


a 


1,200.00 


Art director 


(( 


150.00 


tt 


1,000.00 


Photoplay writing,... 


a 


250.00 


a 


750.00 


Title Writing 


(( 


250.00 


a 


500.00 


Film editor 


a 


200.00 


a 


600.00 


Laboratory manager 


it 


150.00 


a 


500.00 


Cameraman 


(t 


100.00 


a 


750.00 


Technical director 


a 


100.00 


a 


500.00 


Title painting 


a 


100.00 


a 


300.00 


Acting 


a 


75.00 


a 


Unl. 


Assistant director 


a 


75.00 


a 


150.00 


Studio Manager 


a 


50.00 


a 


300.00 


Publicity manager 


a 


50.00 


a 


250.00 


Location manager 




50.00 


a 


200.00 


Transportation manager 


a 


50.00 


a 


100.00 


Still photographer . 


a 


40.00 


a 


100.00 


Film cutter 


a 


40.00 


a 


100.00 



I believe these figures, as nearly authentic as can be ob- 
tained, will serve a very useful purpose and answer a most 
important public curiosity as regards those who are trying to 
enter this business in its various technical and professional 
branches. Editor. 

293 



¥3 



The Art of Screen Make-Up 



HE art of make-up is one, the importance of which cannot 



be overestimated. A correct make-up not only gives the 



audience the feeling of the character's reality but, often- 
times, it gives the actor or actress a feeling of absolute authen- 
ticity of appearance which assists in a correct and convincing 
characterization. I have even heard of instances where the 
actor, because of the conviction of his make-up, was actually 
able to throw aside his own personality to a very large extent 
and live the character itself. So that, a correct and convincing 
make-up, it will be seen, has practically the same effect upon the 
performer himself as it has upon the audience. 

Detail makes perfection but perfection is no detail. There is 
as much individuality of make-up as there is individuality of 
human countenance; therefore, each face requires a different 
make-up to bring out and accentuate those almost intangible 
differences of personal expression. I am afraid that the import- 
ance, in fact, the absolute necessity, of understanding the psy- 
chology of make-up is not, generally, understood. For instance, 
some persons, seeing another with a very good make-up, will 
use the same grease paint and other accessories, thinking that 
they can secure the same result; when, in reality, that is, prob- 
ably, the worst thing they could do. 

Technically, the reason why the face is practically covered 
with grease paint is to cover up the blood that is under the sur- 
face of the skin which, without this make-up, would photograph 
dark, as all cardinal colors, such as red, black and brown, are 
the most severe and will be picked up more readily by the eye of 
the camera. Therefore, it is essential that the actor or actress 
should know the correct number of the make-up suitable to his 
or her complexion. You would naturally think that the person 
with a ruddy or olive complexion should use much lighter grease 
paint than the pale or anemic looking person, but this is very 
often the opposite. In certain cases, the only positive way to 
determine this is by an actual photographic test. 

Many people do not understand why the actor shades around 
the edge of his eye. The reason for this is that when you have 
placed the flesh color all over the face to hide the blood that is 
under the skin, it would then cause you to photograph light. 




295 



29b 



THE TRUTH ABOUT THE MOVIES 



Your face would then be almost the same shade photographically 
as the whites of your eyes. Therefore, if you did not have a 
shadow around the eye in a long shot, the face and the whites 
of the eyes would run together and all one would see would be 
two black spots, the pupils of your eyes, so that the shadow 
around the eye acts, as it were, as a frame, bringing out the 
correct shade of the eye. A lot of people in our profession use 
dark shadows over the eye, doing it because they see others 
doing it and not understanding the underlying principles. The 
heavy shadow over the eye is only necessary when there is a puf- 
finess over the eye which/ without this shadow, would have a 
tendency to make the eye small, the shadow giving the effect 
of depth or, as it were, eliminating the puffiness. The person 
with deep set eyes should never have to resort to this. 

A person should study the art of make-up just as religiously 
as they do the dramatic technique for, first of all, you must look 
like the character which you are to represent. 

Some people wonder why they portray, on the screen, differ- 
ent national characters by what appears to be stereotyped mod- 
els, such as the tall, lean Englishman with the monocle, the 
Frenchman with his beard and mustache, the round faced, gull 
necked German with his glasses. Of course, we all know that 
there are Englishmen who look like Greeks, Frenchmen who look 
like Scandinavians, Germans who look like any other nationality, 
but, however incorrect some of these accepted types are as na- 
tional models, they imagine that audiences would accept these 
models only as correct national characterizations. 

One of the worst things the beginner can do is to accept the 
advice or opinion of one who is not really qualified to guide them 
in this all important branch of dramatic art, because, as I have 
said, the absolute faithfulness to character detail is half of their 
battle. There are, of course, a tremendous lot of details con- 
cerning the art of make-up which, in this limited space, it would 
be impossible to summarize but make-up is an art by itself. 
It is an art which requires the most careful and minute investiga- 
tion. Correct advice at the outset is essential because, no matter 
how talented you may be, if your make-up is poor, it detracts 
from your dramatic performance because you have not conveyed 
the illusion of reality. 

In spite of daily practice, the art of making up is one that 
is most dear to the actor. It never loses its charm because there 
is that constant speculation as to whether his make-up on the 



THE TRUTH ABOUT THE MOVIES 



297 



morrow will exactly conform to the make-up of today. He knows 
that, in this particular, no mistakes can be made, else their de- 
tection — and they will be detected — will bring upon himself, 
drastic criticism. Therefore, it would seem, that make-up is the 
first and foremost consideration of the dramatic art. Often- 
times, it makes the beautiful girl more so, by covering what may 
be a defect and the importance of make-up may also be seen 
in every day life as well, in fact, it seems to be an art which, 
from the very beginning of history, has been universal and 
those performers who specialize in make-up are assured of, first, 
gaining the confidence of the audience and, secondly, of accentuat- 
ing their own confidence because of the representation of abso- 
lute reality. Below, a beginner's outfit for straight make-up: 

1 Can cold cream. 

1 Stick or tube of flesh grease paint suitable for your com- 
plexion. 

1 Dermatograph pencil. 

1 Can or stick of lining color to shade over the eyes. 

1 Lip rouge. 

1 Can face powder suitable to match flesh paint. 

1 Box mascara. 

1 Powder puff. 

1 Baby brush. 

1 Mirror. 

2 Towels. 

Brush and comb. 

1 Make-up box or satchel. 




¥5 



^9 



Is the Art of Make-Up Difficult 



HE art of screen make-up is one that must.be mastered by 



every actor, but the beginner makes a primary mistake 



until he learns that this art lies not in learning to apply 
grease paint, powder and mascara, but in knowing people. Only 
from the book of life can the actor learn types so that when he 
sits down before a mirror to make-up from a given characteriza- 
tion he has in mind a definite picture which he is trying to imitate. 

In my latest picture, for instance, I play a dual characteri- 
zation. An officer disguises himself as a notorious crook. Before 
I could make up for the part I had to know something of the 
type of man I was to portray. Then the problem of using putty 
to change the shape of my nose, of inserting dental plates which 
would make my jaw one-sided, of inserting a wad of cotton gauze 
in either nostril to enlarge the nose, of painting on a livid scar 
after the skin had been drawn together with court plaster, and 
finally of letting the barber trim my hair into an entirely differ- 
ent hair cut was comparatively simple. 

The things that come out of the actor's make-up kit are minor 
aids. It is by mingling with men and women from every walk of 
life, studying their manner of living, their mode of thought and 
conduct and familiarizing one's self with their reactions and emo- 
tions in given situations that the actor learns to "make-up." 





298 



Make^Up 

I THINK makeup is the most intricate of all things connected 
with the making of pictures from the players' standpoint. 
Once makeup is mastered the road is fairly smooth if one 
has real acting ability. 

I believe many good players have been lost to the screen for- 
ever simply because they have used makeup that was not just 
right and therefore photographed so abominably that they were 
never given another chance. The camera is so tricky. It seems 
to have varying moods and it is difficult to take a person and 
at a glance know just what shades of grease paint and powder 
will be best and where needed. 

There are certain people in the profession, of course, who are 
experts in the line of make-up, but even they are sometimes 
baffled at the way in which certain players photograph. Some- 
times it is necessary to take tests with varied types of material 
used — the eye touched here one time; the chin rouged a bit; 
the nose powdered heavily or rouged at the tip. The result is 
only to be ascertained in the projection room the next day and 
then another trial made if it does not prove satisfactory. 

In the next picture you may be doing a part very different 
from the one you have just completed. Therefore it is necessary 
to go through the "test" period again and find what is best for 
that particular characterization. 

I think for the beginner, learning makeup is even more try- 
ing than searching for jobs. There is no way of practicing, for 
the camera is the only judge and one must wait its favor. 



299 



ENID BENNETT 



300 



^5 



My Idea as to Make-Up 

VERY often, two persons using the same number grease 
paint, or the same powder, will obtain entirely different 
results. Why? Simply because a person with a ruddy or 
dark complexion requires a lighter flesh or body paint than a 
person with a light complexion. 

It is, therefore, very difficult offhand to tell you what number 
grease paint you should use, as this can only be determined posi- 
tively by screen tests, that is, by studying your own face, its 
shadows and high lights, as it appears for you on the screen. 

Myself, being of rather a ruddy complexion, have found that 
Leichner's Grease Paint No. 5, mixed with No. 6 of the same 
make, gives me the best results. On top of that, I use a rather 
light powder (Poudre Java — Rachel) made by Bourjois (Paris). 

If your skin is dry, apply a little cold cream before using your 
grease paint, but don't do this if your skin is naturally oily, as 
it then has a tendency to keep the make-up too greasy. 

Don't apply your grease paint too heavily, but be sure to 
blend the paint evenly over your face and neck, then pat the face 
lightly all over with your fingers. This prevents streakiness. 
The lining and shading of the eye is another subject that should 
be studied by each individual, and I claim it is impossible to give 
any set rule as to how to shade your eyes, in order to obtain the 
best results possible photographically. Of course, if a person 
is puffy or full over the eyes, it is necessary to blend a dark 
shadow there to overcome it, but to explain just how heavy this 
shadow should be or how much space it should cover would be of 
no use, as each subject, as a rule, is different. 

For my shadow color, I use a reddish brown grease, a mixture 
of black and red. When applied lightly it gives a nice, soft 
shadow. I use the same color for wrinkled or hollow cheeks. If 
your eye lashes are heavy and thick don't line them at all. The 
medium of a so-called "straight" make-up is only to bring out 
good points and subduing defective parts of the face. Often- 
times, a make-up is spoiled by perspiring too freely, which softens 
it and makes it appear spotty. A good way to prevent this is to 
apply a thin coat of "Carmeline" on top of the grease paint and 
before powdering. Put the "Carmeline" fluid on lightly and 
evenly with a small sponge, without making a mark in the grease 



301 



JEAN HERSHOLT 
In a Series of Studies 



302 



THE TRUTH ABOUT THE MOVIES 



303 



paint. When the Carmeline is dry, powder freely. The make-up, 
in playing different character parts, is, to my mind, after all, only 
secondary to the facial expression. What is the use of trying to 
paint another face on top of your own if you don't inject a soul 
into the character you portray. Study, dream, act and walk the 
character you are playing. Before starting to play a new charac- 
ter in a picture, frequently I lie awake for hours trying to 
think what small touches I can give such character that would be 
true to life. Marcus Shouler in Von Stroheim's new picture, 
"Greed," I played without a speck of grease paint on my face, 
I only combed my hair in a way different than usual. Herman 
Kraus in Constance Talmadge's "Pere Goldfish," I played with a 
close-cropped German haircut and a small mustache and, 
although I hardly used any grease paint in "The Goldfish," I can 
assure you that Herman and Marcus don't look a bit like each 
other on the screen. 

After all, screen actors of today should make it a point to 
appear as make-up little as possible to the audience. 



Beauty Contests are 0. K. as far as they go, but the cry in 
Hollywood as far as the newcomer is concerned is, "Give me 
someone who can act." 




LUCIEN L1TTLEFIELD 

a Series of Characterization 



304 



$8 



¥5 



Is Make-Up an Art 

MAKE-UP is the actor's stock in trade. His make-up box 
is his kit-of-tools, his face the raw material. Every 
beginner in motion pictures must study make-up as 
the law student studies Blackstone if he is to win success in films. 

Poor make-up has ruined more new actors than poor acting, 
in my opinion. Many a screen aspirant has joyfully taken his 
first film test only to discover that he looks terrible on the 
screen. It largely lies in the make-up. 

Too heavy lips, too heavy eye-brows, too white a make-up for 
certain types of faces, will doom the actor in the eyes of the 
public, although the public does not know what is the matter. 

The most difficult part of make-up is that one can not be in- 
structed in making up himself. Of course, an experienced hand 
can tell a novice how to apply the grease paint, powder and 
rouge, but every face, being unlike all others in some respects, 
must require a make-up different in some effects than any other. 

Heavy lips will enhance one face's appearance and ruin an- 
other. Too dark eye-brows will often make an actor appear 
"stagey." Over make-up is a common evil. 

During the part I played in a late picture, it took me four 
hours to put on my make-up. I was playing the role of a hunch- 
back, the court jester, and had to spend hours in curling my 
beard and hair, and giving new contour to my nose. 

For the actor who plars character roles, over make-up is an 
easy failing. Too many character actors rely too much upon 
whiskers. All the gray hair in the world glued onto the chin will 
not make the wearer an old man unless the rest of his face 
corresponds. 

Mustaches, beards, broken noses, sabre cuts, bullet wounds, 
various scars and bruises, black eyes, bald heads and various 
other disfigurements all come under the head of make-up on the 
screen, and it is a study to equal chemistry, with as much room 
for fatal mistakes. 




305 




306 



Is Make-Up Really Needed 

THE average member of the public is under the impression 
that the screen actor uses make-up to beautify his appear- 
ance, which supposition is entirely wrong. For instance 
in a straight make-up, it is used because each piece of film called 
a "frame," could not be retouched like an ordinary photograph. 
The make-up destroys facial blemishes. 

Usually a good grade of face cream is used, covering the 
face with a very thin film of same, which makes a foundation 
for the grease paint and also an elastic surface which prevents 
the completed make-up from cracking. 

A stick of grease paint is then used, varying in color ac- 
cording to the character being portrayed. The grease paint is 
then rubbed evenly over the face and patted in with the finger 
tips, which does away with streaks. Attention of this sort must 
also be given the ears and rear of neck. 

A dark pencil, technically known as a "liner," is then em- 
ployed and this requires skill and artistic ability in the handling 
as for instance, if one applies the "liner" too lightly or too 
heavily to the eyes, it at once destroys the quality and character 
of the person and will look ridiculous and destroy all the expres- 
sion. So extreme care must be taken with the eyes. 

A very fine face powder is next used which, if improperly 
applied, will destroy the make-up, so it has to be tapped in gently. 
The color to be used varies according to the character to be por- 
trayed and the quality can only be determined through ex- 
perience. 

The lips can portray as much expression as the eyes and 
great care must be taken not to destroy the original outlines by 
overlapping or making the lips thinner. Most actors never use 
a lip stick or, if they do occasionally employ one, very lightly be- 
cause the lips are already dark and have natural photographic 
qualities. 

To complete the make-up, brush off gently with a very 
fine haired brush, which evens the surface and brushes off 
blotches of powder generally. 

You are now ready for work. 

307 



The First Law of Make-Up 

THINK of your face as the 
painter thinks of his canvas 
and paint it accordingly. 
That is the first law of make-up. 

An eye for drawing is the first 
requirement of the painter; it is 
equally essential to success in the 
field of make-up. The painter 
works on canvas ; the make-up art- 
ist uses his own face as a back- 
ground. 

Study your face. It is always 
with you. Analyze its elements. 
There are certain basic features, such as the size of your 
face and the color of your eyes that cannot be changed. First 
of all, study the possibilities and limitations of your facial canvas. 

Before a single daub of grease paint goes on the face, the 
artist shuts his eyes and visualizes the character he wishes to 
produce. Every detail of this character face is mentally con- 
jured up before the mind's eye. Then the face is consulted to 
see how close it approximates the character face desired. The 
deficiencies are noted and the artist proceeds to fill in the miss- 
ing elements. 

Too often the student of make-up believes that a gray wig, 
a few wrinkle lines and a stimulation of false teeth produce an 
old man character. The student argues that there are old men 
who have such characteristics. 

This is not enough. It is necessary to produce the public's 
idea of an old man. This is a composite of many impressions 
and the characterizations of all old men must be stressed. 

This is even more true in creating national or racial types. 
A black wig with a feather does not make an Indian. 

Not every one can succeed at make-up any more than all the 
world can win success as a painter of portraits. Natural ability 
— the eye for drawing and modeling — and keen observation are 
the necessary requirements. 





309 




ESTHER RALSTON 



Edwin -Bower Hesser 



310 



^9 



¥5 



How to Secure a Good Photograph of Yourself 

s — > IRLS with movie ambitions located away from New 



York and Los Angeles, always face the difficulty of having 



photographs made which will show their photographic 
value to advantage. I can speak with authority in this matter, 
because girls all over the country who are "movie-struck" know 
that I regularly photograph every movie star of any importance 
and almost the first thing they do upon their Hollywood arrival 
is to come to my studio. 

It is difficult to realize what poor photographs are made of 
some of the loveliest girls. A little beauty from Philadelphia, 
who had been photographed there by one of the leading society 
photographers of the city, arrived in Hollywood with two hun- 
dred photographs — all ready to deluge the casting directors of 
motion picture studios. For two weeks she went from studio 
to studio — casting offices looked at her photographs, but they 
did not want to even put them on file, because they were dark 
and shadowy, and did not indicate in the faintest degree how 
the young lady would photograph beneath the glare of the 
Kleig lights in regular movie work. She finally came to me — 
told me how much she had spent in Philadelphia getting 
these photographs, and how heartbroken she felt at her recep- 
tion by the casting directors. 

"I've made up my mind that a girl cannot get into the movies 
unless she has a pull," declared the Philadelphia girl. "The 
assistant casting directors hardly bother to talk to me — and I 
haven't seen a real chief casting director myself." 

Looking at the girl (who was really beautiful, and who has 
since made quite a success in Hollywood) I could not believe that 
anyone would give her the cold shoulder. Then I compared her 
Philadelphia-made pictures with the girl herself. In the show 
case of a society photographer they would have undoubtedly 
been called pretty. But they did not even begin to indicate the 
flashing eagerness of the girl's eyes or her sincerity. They 
showed merely a mouth perfect in outline — but with none of 
the tenderness, the romantic beauty of the real mouth, which 
changed expression with every word she said. Her hair, which 
was really a soft, light brown which even in ordinary daylight 
had a delightful sheen and showed every soft wave, had been 




311 




Witztl 

DIANA HUGHES 



312 



THE TRUTH ABOUT THE MOVIES 



313 



rendered meaningless in the photographs, which showed it an 
absolute lifeless black. 

I made some pictures of this girl, she went around to the 
same studios, and assistants who had hardly noticed her ex- 
istence before almost invariably took her pictures in to the chief, 
resulting in an interview for the girl with the casting director 
himself. The new pictures showed that the girl's hair was 
radiantly beautiful under artificial light, it brought out all the 
beauty of her eyes, her nose and mouth — and had caught the 
romantic loveliness of her expression. It was easy for even 
the assistant casting directors to see that she was "screen ma- 
terial" and that the casting director himself would not be wast- 
ing time seeing her. 

What was the secret? What made her new photographs so 
much more valuable than the old ones, made in Philadelphia? 

"Make-up" is the answer. Instead of photographing her as 
most society photographers insist upon doing — without a bit of 
make-up, I had shown her how to put on a regular motion 
picture make-up, and then I had used, in making my pictures, 
the same kinds of lighting generally used on motion picture sets. 

For the benefit of girls all over the country that cannot get 
to Hollywood, but want to find out right in their own home town 
whether or not they have photographic value, I am going to 
make some suggestions. 

First of all, locate a photographer who uses entirely artifi- 
cial light in his work. Daylight made pictures, however well 
made, are almost valueless to determine screen photographic 
values. Explain to the photographer that you merely want to 
find out how you photograph with motion picture make-up. If 
possible, wear an evening dress showing your arms and shoul- 
ders, but avoid using draperies. Unless a draped picture is 
made by a real artist it generally tends to make the girl who 
is posing self conscious, and in making these tests, you must try 
to be absolutely "at ease." 

Before you go to the photographer, pick out in the movie 
magazine several pictures of some star you resemble as to gen- 
eral facial type. Ask the photographer, just as an experiment, 
to try and duplicate the lighting. If you select my pictures — 
and they appear in nearly every issue of the movie magazines — 
the photographer can quite easily copy the lighting, if he ar- 
ranges you in a pose identical with the picture selected. 

Now comes the problem of make-up. You should endeavor 



Edwin Boi 

ALICE TERRY 



314 



THE TRUTH ABOUT THE MOVIES 315 



to secure the following list of materials from your druggist. 
If he does not carry them in stock, he can order them for you 
from his wholesale house. There may be a little delay, but it 
will pay you to have the right outfit. 

i/^-pound box theatrical cold cream. 
1 stick of Leichner's No. 2 grease paint. 
1 can of Leichner's theatrical powder, pink. 
1 stick of Stein's No. 18 carmine liner. 
1 box Mascarillo. 

This whole outfit, in Hollywood, costs only S2.10. You can 
use any kind of good cold cream, instead of getting the the- 
atrical variety, if you prefer. And if you already have Mas- 
cara, and know how to put the kind you have on your eyelashes, 
you need not purchase "Mascarillo." But the Mascara must 
be black, not brown, whether you are a blonde or a brunette. 

First of all, carefully cleanse your whole face and neck with 
cold cream. Do it gently, avoiding any undue friction that would 
bring color to the surface of the skin. Carefully remove the 
cold cream after cleansing the face. 

Then take a stick of the Leichner grease paint. Rub some 
of it on one cheek only, to experiment. Blend this on the cheek, 
to get an idea as to how much is needed to cover your skin. 
Avoid using too much — just enough to cover the flesh, and give 
the grease paint color instead of your own natural color, in the 
right amount. 

Then go over your entire face, except over the eyes, between 
the eyebrows and eyelashes, which should never be covered with 
grease paint. After you think you have a smooth coating, take 
the stick of Stein's No. 18 carmine red liner and make up 
your lips. 

Now you have the grease paint on your face, and your lips 
shaped. The next step is to put mascara thoroughly on your 
eyelashes, being careful not to get them matted. If they do 
mat, separate the lashes with a toothpick. The final touch, be- 
fore putting on the powder, is a shading over the eyes of a fairly 
dark pink color, obtained by using a little of the Stein's No. 18 
carmine liner again, blending it carefully over the eyes. Do 
not get it too dark. 

Now you are ready for your powder. Pat it on smoothly 
with a velour puff. Do not rub it. With proper grease paint 
foundation, your skin will "take" just the right amount of pow- 



THE ART OF MAKE-UP 

1. Clean face and neck 4. Brush off gently 

2. Mascara eyelashes thoroughly 5. Shaping the lips 

3. Shading the eyelids 

316 



THE TRUTH ABOUT THE MOVIES 



317 



d er — so put it on as thickly as you like, brushing off the sur- 
plus gently with a baby brush, or a rabbit's foot. Try to avoid 
getting powder on the mascara covered eyelashes. If you do, 
touch them up again with mascara. 

After getting your hair in the most attractive shape, you 
are ready for the photographer. If he co-operates with you, and 
will copy pose and lighting of some screen star you resemble 
in general facial characteristics, I think the result will tell you 
quite plainly whether or not you have photographic value in 
your face. 




*fc 



Screen Tests— Studios and casting directors will make the 
necessary screen test gratis if interested enough in the appli- 
cant, so why go to the unnecessary expense of having a test 
made which in all probability will never be seen by the people 
who can do you any good. 




/ . ... - •-- — ^-■".--l-... ■■ - — 

ON LOCATION 

1. In the forest taking a hunting scene 2. Taking a western scene on the desert 



318 



¥5 



The Location Manager 

LET me say at the outset that I have the hardest job in the 
studio ! 
I know that is going to raise a sarcastic laugh from the 
heads of other studio departments. But I ask you, what other 
man on the lot is called upon, generally in a hurry, to supply a 
Gothic castle, or an Italian sunken garden, or a Chinese hanging 
garden, or a desert oasis, or a tropical Paradise Isle, or the 
topography of the sub-Polar basin 

Not one of them ! Yet those demands are made of me in the 
same unemotional manner in which you order a T-bone steak 
from the butcher! Don't think that I'm complaining; it's my 
work and if I didn't like it I wouldn't be doing it. The work 
is tremendously interesting, for it is ever-changing. 

While the work of the location manager will never be free of 
problems that exasperate, and demands that sometimes seem 
impossible to meet, yet it has grown considerably easier during 
recent years through the perfection of system and the spirit of 
mutual co-operation that now pervades the studios. 

The fact remains that to be successful in this day and age as a 
location manager, one needs to be a combination of diplomat and 
bulldozer, an efficiency expert, a walking directory of every point 
of interest in the state that can be used in pictures and a man 
with a wide circle of friends and acquaintances in every walk of 
life in the city and county of Los Angeles. 

Those are the essentials in this game — those, and the render- 
ing of a full measure of hard work, ungrudgingly ; the ability to 
overcome obstacles, and painstaking care in attention to details. 
The location manager must be able to see with the eye of the 
camera and give sympathetic interpretation to the requirements 
of the director. 

It is only through the possession of these qualities and experi- 
ence that the location manager is able to co-operate successfully 
with the other departments of the studio in the creation of in- 
creasingly better pictures. 




319 



¥5 



The Art Director 

BY APPROACHING screen settings from the standpoint 
of the pictorial artist and not the architect, leading art 
directors are revolutionizing the building of photoplay 
backgrounds. 

Heretofore, the majority of art directors have been architects 
rather than artists. The setting has been made all-important 
and constructed with no thought of the action to take place 
within it later. When it came time for the director to make 
his scene he had to arrange his characters to fit the setting, 
thus, unwittingly making the dramatic action subservient to 
architectural design. 

In building our settings around our characters, instead of first 
constructing our setting and then forcing the players into it, we 
depart radically from the established method of interiors. We 
are substituting for the old method an arrangement which aids 
and intensifies the movements of the actors — we concentrate the 
attention on the dramatic interest. 

We also study our backgrounds, not only for pictorial com- 
position, but for the relation of their tonal values to the figures. 
In so doing we attain a proper pictorial effect. How many times 
have audiences commented on a supposedly highly dramatic scene 
in which, directly back of the central figures a swinging bird 
cage or a fluttering window curtain distracts the attention. We 
avoid that. 

We are applying to our screen pictures the same laws and 
principles that the old masters applied to their paintings — laws 
which are as definite as those of physics and mechanics. 

Our new school of screen artistry in settings considers also 
the lighting of our pictures, for on the camera's sensitized film 
we can paint with light and shade as the artist paints with pig- 
ment upon canvas. 

It is obvious that, to get the best results, there must be the 
closest co-operation and unity of purpose between the director, 
author or scenarist, cameraman, electrician and supervising 
artist. 



320 



¥3 



The Construction of Settings 

OUBTLESS the average moviegoer seldom gives a 



thought to two important things necessary in building 



moving picture settings. Those elements are "Where is 
the camera?" and "Where is the lighting coming from?" 

If it were not for these two things moving pictures could 
just as well be taken in people's homes, in actual hotels, cafes 
and whenever the action calls for a location. All construction 
is planned out with these in mind, and that is why in ninety -nine 
cases out of a hundred, an interior scene in a picture is actually 
built to order. As a matter of fact, the majority of exteriors are 
also built — streets, city corners, elevated tracks, subway sta- 
tions, etc., because it is easier to build a street in the studio 
and place the actors and the action in it, than to contend with 
the traffic, and the crowd of curious onlookers were the scenes 
taken in a real location. 

Moving picture construction is as different from that of the 
stage as day is from night. On the stage practically everything 
except the props is left to the imagination. In moving pictures, 
because it is not necessary to take the scenery around from place 
to place, much more realism can be obtained. Movie construc- 
tion is more like actual building of houses, etc. The only way 
in which it differs is that in a movie set those extra studdings, 
underpinnings, strong joists and foundations which would be 
required by a town building inspector, can be left out. 

Sets are seldom used over and over. Practical studio man- 
agers and technical men have found that it is in the long run 
more economical to "strike" a set after it is "finished and build 
the new one all over again, than to dismantle and go to the 
trouble and expense of storing. 

Most of the larger studios make their own sashes, doors, 
panels, etc., from raw lumber worked through their own shops. 
Flat walls are built of composition wall board, which for con- 
venience is mounted on standard size "flats" about the height of 
an average room, and four feet wide. Then the paper hangers 
do their work and the "set" is ready for the special drapery men 
and property men who complete its decoration. 




321 






SCENES AND CASTS OF DIRECTOR EDWARD LAEMMLE 



1. Cast of - "Buffalo Bill" 

2. Laemmle, Rawlinson and cast in "The Victor" 

3. "Winners of the West" riders 

4. South Sea cannibals he filmed in his famous 

travel picture. 



5. Laemmle with Duke Lee as "Buffalo Bill," 

and one of his Indians 

6. Deer head, a trophy of the chase during a 

Laemmle serial 

7. The director poses as Kit Carson in a silhou- 

ette flash 



322 



A Day in the Life of a Director 

CONSIDER the lordly director, who sits in a soft chair and 
berates hard-working actors through a megaphone. This 
is the picture of him one gleans from magazines; from 
plays, and from the general popular superstition as regards the 
man who translates script into pictures. 

It starts at about six-thirty in the morning, when the alarm 
clock shatters his sleep. He jumps out of bed, grabs a bath and 
a shave (if he has time) , leaps into his clothes and, dashing from 
home, hustles to the studio, fastening stray buttons in his mad 
rush. 

There are sets to look over — properties to be checked and 
then the script scenes for the day to hurry through a couple of 
times, noting any little extra idea that may occur. By that time 
the property men and grips begin to arrive, and usually a cross 
and sleepy director. A conference — another general checking 
up, and then actors begin to drift in. Makeups are examined, 
a few tardy performers roundly cussed — and then the electri- 
cians set the lights. The cameraman kicks because the light is 
yellow ; the director soothes him, demands more and better lights 
— the chief engineer appears on the scene and straightens out 
the problems — and then shooting begins. 

Then home — a hurried dinner, and two or three hours on the 
script, writing new titles, checking over the work for the next 
day — and devising, as aforesaid, means and methods for getting 
in a few extra scenes. 

All the time the director worries for fear he'll go over the 
estimate on the picture. In his dreams he worries for fear he'll 
take longer to shoot than the schedule calls for. 

Occasionally there are variations — work from sun-up to sun- 
down on a hot desert — or in woods where the light is so bad it 
takes hours to get a few scenes — while the overhead soars! 

And when all the turmoil is over, the picture is cut, shipped 
to the exchanges, and distributed, the exhibitors all give him the 
following tribute: 



"The picture may be all right — but our trade wants West- 



erns 




Universal Director 



UNIVERSAL CITY 

1. Studio cafe 5. Wood mills 

2. Sculptors in plaster shop 6. Electrical repair shop 

3. Executive building 7. Machine shop 

4. Drafting room, technical department 8. Birdseye view of main stages 

324 



¥5 



The Cameraman 

THE whole purpose of a motion picture is to present drama — 
the photography is merely the means of presenting it. 
If the means is allowed to dominate, you get picture but 
not drama. 

The cameraman must read the story he is to photograph and 
must visualize it from the dramatic standpoint and the psycho- 
logical standpoint as well. Then he must adapt his photography 
to match the moods of the story. If the spirit of the scene is 
gloomy, cold, dismal, his photography must express that mood. 
If he does not possess that dramatic understanding he cannot 
co-operate in the fullest sense with his director. 

However, there are other factors beside the dramatic instinct 
that are necessities in a good camera man. A thorough tech- 
nical knowledge of the medium and its possibilities and limita- 
tions is assumed in the case of any expert and in the cameraman 
this includes many requirements that the public never think of. 

There is, for example, the matter of spacing. He must know 
when the director calls for a "long shot" where to place his cam- 
era so as to take in the biggest portion of the setting and what 
type of lens to use — for spacing varies with the lens. He must 
know when a "close up" is required whether conditions demand 
that he move his camera up to within a few feet of the actors 
or to use a long-focus lens. 

Then there is lighting, one of the most fascinating phases of 
motion picture work. Here again, character and mood play an 
important part — cold, hard lights for drab, dismal scenes and 
soft, diffused lights for gentler humors. And when it comes to 
lighting the actors themselves, the variety is almost unending. 
Different subjects require different methods and the expert cam- 
era man plays with his lights as a painter plays with color or a 
poet with words. 

There are, of course, certain fundamental principles of light- 
ing that must be observed, but beyond that it is a matter for the 
individual camera man's feeling for it — and, again, his dramatic 
sense. 




Cameraman for Wm. De Miile Prod. 

325 




PARAMOUNT WEST COAST STUDIO LABORATORY 

1. Inspecting film 5. Cutting room — matching positive and negative 

2. Engineer's room 6. Drying room 

3. Patching room 7. Exterior of Paramount Laboratory 

4. Special drum for color film 8.. Developing room 



326 



¥5 



¥5 



Something About the Cameraman 

HE greatest action ever developed from the greatest plot 



ever written by the best actors and the best director in 



the business would mean nothing if the cameraman was 
not efficient enough to record it properly, so it isn't exactly ego- 
tistical to assert that the cameraman is a very important unit 
in motion pictures even though the public never knows much 
about him. If the photography is good, people seldom notice it 
but if it's bad and one's eyes smart from looking at a picture 
intently then the cameraman gets all of the credit in the world — 
for being terrible. 

Truthfully, one of the greatest advances made in motion 
pictures has been that in photography and it is not braggadocio 
to say that today the photographic artists of the world get more 
ideas from the motion picture than from any other source. Mo- 
tion picture photography has become foremost of the commer- 
cial arts because of hard work and careful study on the part of a 
few men who have seen the possibilities for the development of 
screen photography and have been tireless in their efforts. Per- 
haps the motion picture is perfect photographically more than 
in any other sense, yet there is much to be done in the future. 

People often ask if eventually the screen lighting will not be 
exactly like natural lighting — people in a room, for instance, be- 
ing lighted through the one window of the room. It does not 
seem that this condition will ever arrive. What the screen 
loses in voice it must make up in gesture and traveling as it 
must always, at a steady, fast rate, there must not be anything 
lost that will aid the plot and the development of it. Further- 
more, it seems more important to photograph scenes advanta- 
geously from the angle of the subject, and the audience, too, 
rather than to be just correct in lighting. Every day we come 
closer to photographing scenes as they really are but never will 
we discard the art of photographing people and objects in the 
backgrounds for certain pleasing effects. 

Some people have the idea that the cameraman must merely 
know how to turn a crank steadily, after he focuses his lenses 
and loads his film magazine. Such is not the case. The camera- 
man today must not only be a master craftsman so far as his 
photographic apparatus and its use are concerned but he must 




327 



328 



THE TRUTH ABOUT THE MOVIES 



be a master of lighting. He must know how, by the use of re- 
flectors, to switch the natural rays of the sun to suit his pur- 
pose, to bring light where there naturally is none, to high light 
and graduate the natural rays, as he wills. He must know the 
absolute values of various types of manufactured light. He 
must know how close lights may be set to an object to get an 
accurate photographic result and he must know how many lights 
he can use for photographing at a certain speed. He must know 
how to eliminate cross shadows when rays of light strike objects 
from several different sides and most of all he must master the 
art of making an object appear to have three dimensions when 
it really has two. He must be an artist in every sense of the 
word. Unlike the artist he may never have to draw anything or 
model anything from clay or wax but he must know the value 
of light and shade and of composition. He must know how to 
mold a face or figure, how to overcome natural defects con- 
sistently and to photograph things to their decided advantage. 

The cameraman cannot retouch his negative and because 
of the present day vast fortune invested in every production he 
must be accurate. An alibi wouldn't save an expensive scene 
incorrectly filmed. He must be positive of every move he makes 
before he has a chance to see how it will look. He must visualize 
accurately in order to photograph accurately. And he must work 
quickly. When a motion picture director orders a thousand peo- 
ple for certain scenes and all of the scenes must be completed 
in a certain time the cameraman must make the best of the sit- 
uation and get the best results always. He can't take all the 
time he should, in many instances. 

Some day motion pictures are not going to be made on sched- 
ule. When this era arrives the cameraman may show the world 
many photographic advances he hasn't been able to thus far 
because of the handicap of time. 

NORBERT F. BRODIN 

A. S. C. 



¥5 



The Essentials of Still Photography 

GREAT many persons, in the business and out of it, for- 



get that the still room is also a stage where the features, 



in absolute repose, must express the artist's personality. 
A still photographer also becomes, automatically, a Director of 
the highest order. Above all, he must understand the art of re- 
pose and relaxation and infuse naturalness into his photographic 
subjects. In other words, the photographs which go out to the 
public in publicity matter must have a tremendous appeal be- 
cause, it is on the value of photographic publicity, that the suc- 
cess of the picture depends. The public sees the still photo- 
graphs long before it sees the picture itself. I need only call 
attention to the fact that Casting Directors and others must 
depend upon the value of still photographs to determine the 
value of applicants to indicate the importance of photographs to 
the business itself. Therefore, the still photographer must be 
a Director within his own sphere, he must have an idea of dram- 
atic expression, of repose, of naturalness and photographic tech- 
nique and quality because, of all the arts, it is most difficult to 
please subjects in photography. They can always find a blemish 
somewhere and a photographer who generally pleases univer- 
sally, may be called a thorough artist within his own domain. 

They work hard for the success of their picture, for the still 
must sell it to the public. The still careraman should read the 
story, then the continuity of a picture. 





329 



¥5 



¥5 



Chances for a Beginner in the Camera 
End of Pictures- 

XACTLY the same as in any other portion of the industry. 



Good camera men are extremely scarce, and, of all branches 



1 — ' ' of the business, photography is the most difficult. 
A photographer must have a knowledge of still photography. 
Unquestionably, the beginner should have a knowledge of 
studio work. First he carries the camera box and gathers the 
negative and takes it to the laboratory. Gradually he familiarizes 
himself with these branches. He assists in setting up the 
camera; in this way he begins to understand camera angles. 
He sees the photographer panorama with the camera, often- 
times taking in the entire set and people, yet never losing 
them for an instant from the camera range. He begins to 
understand the proper moment to begin grinding to secure the 
best dramatic expression of the characters. 



IN our outfit, we have lots of fun. We try to laugh ourselves 
so the world will laugh with us. In great measure, we suc- 
ceed, therefore we are happy. My greatest interest lies in 
photographing "Hoot" Gibson. I follow him around like a 
shadow. I plant a camera in front of him and he starts and I 
start. Then again, we have a good deal of music on the set. If 
we don't somebody can always whistle. Maybe, when I smile, 
Hoot smiles with me and I always smile with him for he can't 
help looking at me everytime he looks at the camera and things 
must always be right. If nobody smiles the Director is always 
smiling for he is big, genial good natured and he always has a 
joke. That's my life and I like it. Can you blame me? 





How to Make Work a Pleasure 




330 



¥5 



Slow Motion Photography 

SLOW motion photography presents to me the most interest- 
ing as well as the most scientific cinema discovery since 
the very beginning of picture making. The scope it covers 
is wide beyond conception ; its educational value is unlimited and 
I firmly believe it will prove in a short time to be the greatest and 
most effective method of teaching. The possibilities of the 
various ways in which it may be further developed, are over- 
whelming. 

Each year the screen comes to mean more in an educational 
way. It is a natural guide, for it has been proven conclusively 
that the eye carries a more definite impression than the ear. 
We may hear a thing and forget it. But rarely do we see an 
object and not have it make a deep stamp upon our subcon- 
scious as well as our conscious minds. 

As an illustration of the great scope of slow motion pho- 
tography take for example, a hospital clinic. During the per- 
formance of an operation the students in the back of the audi- 
torium, those sitting in the balconies and galleries are able to 
hear the lecture accompanying the operation. By slow motion 
pictures even a more vivid impression of what is taking place 
may be given than the naked eye could possibly discern, for 
slow motion photography shows the act at such a rate of speed 
that not even the fraction of a move is missed. 

Think of what it would mean to a group of medical students 
to be able to go into a projection room and there see an opera- 
tion performed in the most minute detail, to be able to view that 
operation again and again, until they became letter perfect in 
their special line of surgical work. The surety of that camera 
picture would mean more to them than all the lectures they might 
listen to during a lifetime. 

A child's school lessons might be made most attractive to 
him by teaching with slow motion pictures. Getting him inter- 
ested and then by repetition he could acquire that which might 
be difficult for him to learn otherwise. 

Slow motion photography could actually teach one of the 
intricacies of any sport in the world. /"N 



331 




FAMOUS CINEMATOGRAPHERS 

Virgil E. Miller 3. Tony Gandio 

Norbert Brodin 4-5. Guy Wilky 



332 



X 



The Real Meaning of Motion Picture 
Photography 

IN the final analysis, photography is the medium by which 
the entire history, art, drama, ensemble of motion pictures 
is conveyed to the public. Probably, there is no branch of 
scientific art which requires so much experience, such continu- 
ous effort, such painstaking detail as does the proper direction 
of the motion picture camera. It registers artistic detail which 
cost thousands of dollars, dramatic interpretation priceless be- 
yond money; in fact, it is the last unchangeable medium of 
expression. Therefore, the risk, the work, the effort, the thought 
of the motion picture photographer is almost beyond expres- 
sion. As a matter of fact, the photographer occupies a field 
by himself and one in which he cannot ask for assistance. No 
one can help him. In a moment of deep distress and doubt, he 
cannot even apply to some wonderful still photographer, because 
the two lines of endeavor are entirety different. He must, there- 
fore, be a law unto himself. He must originate, invent, experi- 
ment until he is secure beyond doubt and the whole proposition 
remains to be shouldered by him and he is responsible for results. 

Almost every responsible motion picture photographer has, 
or should have, a sort of miniature stage in his home and a 
miniature equipment of lights in order to do his experimenting. 
In this manner, he can be reasonably sure of the larger results 
to be obtained in the studio on the following day. 

Can you picture a set that cost thousands of dollars in 
material, wages and labor, covering a tremendous area of ground ; 
a set of a new, unique and fanciful aspect and architecture, every 
angle of which must be photographed accurately in order to get 
the value from this tremendously costly creation. To further 
accentuate the difficulty, this square, let us say, is filled with 
people in costume which cost many thousands of dollars, and 
which, to save expense, are to be employed for one day only. 
The photographer comes to this set and adjusts his instruments 
and, suddenly, the magnitude of the undertaking strikes him 
with brutal, merciless force. His camera appears to him sud- 
denly to be so very insufficient to secure all this architectural 
beauty, action and dramatic and photographic color. Then 
again, he is required to invent new dissolves, new forms of 

333 



■ 



334 



THE TRUTH ABOUT THE MO VI 



what is technically known as "trick" photogra], 
tor may have a wonderful thought. Some new ^ m 
of Fade may serve to get over a symbolism and it then incomes 
the duty of the photographer to secure that effect and it may 
so happen that he has never attempted such a feat before. 

He goes home, probably exhausted after a terrible day's 
work and then begins experimenting again in his laboratory. 
He has promised to secure the effect, and secure it he must. 
There is practically nothing impossible to the camera. It is 
only a question of absolute, scientific knowledge in which no 
mistakes can occur. Perhaps the effect may resist his best 
efforts. Perhaps, like a flash, the effect may come to him. It 
all rests with the individual photographer. 

I have often been asked about camera angles. Camera angles 
are purely mechanical. They mean the shifting of the camera 
to various positions on the stage. The fundamental principles 
of photography are to be learned only by actual studio experi- 
ence and a close and interested observation of a first-class 
photographer. Motion picture photography is so different from 
any other branch of the art that cut and dried rules are impos- 
sible to give. Anyone can, after some experience, become a 
photographer, but no one, save after years of interested concen- 
tration, experimentation and study, can become the sort of 
photographer into whose keeping can be placed the photography 
of a spectacle that costs One Million Dollars. A good photog- 
rapher must continue to improve. All branches of scientific re- 
search should interest him, but more particularly chemistry, 
physics and kindred sciences. Photography changes frequently. 
It would seem that no branch of scientific knowledge has so 
much latitude as that of photography and the man who stands 
still, having gained a smattering of photographic knowledge 
only, is the man who will eventually retire from the business. 



¥5 



What Is a Screen Test 



SCREEN test consists of two or three hundred feet of film 



taken to determine both your dramatic and photographic 



value. Screen tests are more difficult for the one to be 
tested than even a dramatic performance. It is the supreme test. 
You are told to go upon the motion picture stage and you don't 
know what you are going to do. You are told to portray a 
certain emotion. You have not previously worked up to that 
emotion. At the moment, you are not any part of a story that 
is being screened. There you are seeking to do something sur- 
rounded by the most tremendous obstacles. Probably, you are 
nervous. The environment is new. The director is new to 
you. You come on, the camera starts turning and you do some- 
thing, under the stress of nervousness and indecision, which 
must be the supreme judgment of your future and your work. 
Screen tests are nerve wracking, heart breaking things which 
are over in a moment or five minutes and, upon them, depends 
a tremendous hope, ambition; in fact, every emotion is concen- 
trated in those few brief minutes. 

Probably, of all departments of work, screen tests are the 
most trying. They are like first nights upon the stage, only 
more so and, strange to say, every great artist has probably felt, 
in a screen test, the most nervous, highly strung moment of his 
or her life. 





S35 



Microscopic Motion Pictures 

"FIRST PERSON" account of the introduction into 



motion pictures of microscopic films is difficult to ac- 



complish in modesty, for the recurrence of the personal 
pronoun "I" may reasonably offend the reader. However, it is 
inevitable that it shall enter here, for, it seems, nobody but the 
writer has been sufficiently enthusiastic on the subject to bring 
experiments and endeavor to the point of success. Much enthu- 
siasm must be engendered to last through eight years of quite 
unrewarded endeavor to open up to the world of motion picture 
goers the marvels of the microscopic world — to unfold the mys- 
teries that lie in the life that dwells in the depths of a drop of 
water and to disclose on the screen, in action, those humble 
creatures of burrow, breeze and blossom that affect, without 
our knowing it, our lives and to a degree that would amaze 
the general public. 

One of the first difficulties that lay in the path of success 
was to devise a light that would be sufficiently powerful and yet 
sufficiently devoid of heat to permit the creatures photographed 
to function normally. On account of the great brevity of the 
photographic exposure of the motion picture camera, speeded 
up to catch the elusive motions of insects, the light had to be 
increased in brilliancy. To increase light energy was to increase 
the heat and that killed the creatures under inspection. A cool 
light had first to be perfected and then adapted to the micro- 
scopic motion picture apparatus. This latter had to be so ad- 
justed that the same operator — myself in this case — who posed 
the subjects, photographed them also. This apparatus, com- 
plicated as it necessarily had to be, must also be capable of 
instantaneous action, for a spider about to spring upon a fly 
isn't subject to a director's commands, and the apparatus that 
would catch him in the act must obviously be quicker than the 
fly. Since all action of microscopic life must be taken laterally 
across the camera lens and not towards it or away from it as in 
regulation motion pictures, the opening and closing of the camera 
shutter had to be speeded up. Otherwise, nothing but a blur 
would be registered on the film. 

Do not misunderstand me as asserting that I am the only per- 
son who has ever made microscopic pictures in motion. Others 




337 



338 



THE TRUTH ABOUT THE MOVIES 



have done so with varying degrees of success. I lay no claim 
to originality either in initiative or invention, but I think I may 
safely and modestly claim to be the first experimenter in optics 
to present insect life and microscopic life in the perfection of 
the creatures' normal functioning — the first to reveal them in 
their natural habitat, exactly as they live and move and have 
their mysterious being. 

If the inventor of these processes that have perfected micro- 
scopic motion photography be entitled to so radical a statement, 
I would like to assert my belief that the revelation of micro- 
scopic life on the motion picture screen, addressed to the general 
public and not to students or pedants, will prove of great advant- 
age to the race. How intimately our own lives are wrapped up 
in the well-being of certain insects and how our own lives are 
menaced by other insects; how the very life of our orchards is 
dependent upon one class of insects engaged in an eternal war- 
fare with enemy insects, is important information to convey. 
How disease is spread on the wings of the house-fly and through 
the song of the Jersey "skeeter" are other things it were well 
to know — and this information, presented not as dry scientific 
matter but as entertainment, will, it is reasonably hoped, prove 
of advantage in a world where knowledge still remains the key 
to power. 

Accordingly, I invented what is known as a "cool light" 
which permits of the filming of these delicate organisms 
under the most intense light — with practically no heat gener- 
ated. So intense is this light that if it were used to illuminate 
the average production set without the cooling device, its fierce- 
ness would immediately consume everything within its reach, and 
would kill all the actors within its focus. 

It is remarkable to take 80,000,000 organisms in a single 
"shot" but more remarkable to take them on a tiny "set" but 
three inches long and one inch wide — for that is the size of the 
"stage" on which I "shoot" my dramas. 

For a swimming scene, I used the eye of a needle, and 
in this tiny aquarium showed 500 "cyclops," aquatic marvels 
of the insect world, competing for swimming honors. 





THE FILM CUTTER 

1. Interior of cutting room, Ince Studio 3. Film cutter, Ince Studio 

2. Rupert Julian and his staff of film cutters 4. Cutting room, Ince Studio 

(Universal) 



339 



¥5 



¥9 



The Film Editor 



HE old saying that "a chain is no stronger than its weak- 



est link" loses nothing of its old time force when applied to 



the motion picture. 
In the production of a picture everything, each step and pro- 
cess in its making, is important. Therefore, we may start with 
the assumption that photoplay editing is an important step in 
photoplay production. 

It is not extravagant to assert that many pictures have been 
"made" in the cutting room. In fact, this very thing has hap- 
pened so often that at times those "in the know" have been heard 
to say that a picture is only half complete when the scenes come 
from the laboratory to the cutting room. 

There is very little difference in the editing of a comedy or 
dramatic picture, in so far as the general results are concerned. 
But experience has taught me that comedies are much more diffi- 
cult to edit, owing to the shortness of the scenes and the speed 
of the action. I believe it is harder to make people laugh than it 
i;i to make them cry. 

The editor is the real buffer between the author and the di- 
rector and the public. And it is his job to outguess the audience. 

He must outguess them with suprises, scenes of suspense or 
mystery. 

After the author has worked out his plot and the director has 
translated that plot into action for the screen, it is up to the editor 
to so arrange the scenes that the best effects are registered. Thie 
requires sound knowledge of public requirements. There is ? 
mighty difference between artistic appeal and audience appeal. 

When all is said and done it is the spectators' reactions which 
determine the success or failure of a play. The story may br 
essentially dramatic or fundamentally humorous, but the audi- 
ence will not analyze. The audience will not make voluntary ef- 
fort to discover the underlying qualities of a play. It will not 
even make an effort to follow a play. The play must lead the 
audience. 

A good situation or sequence may miss its point entirely if it 
is not properly approached, or because it is sustained too long, or 
cut too short. 

Occasionally it is superior to the original scene, in which case 




340 



THE TRUTH ABOUT THE MOVIES 



341 



it supplants the original. The elimination of this "overfootage" 
is one of the most difficult phases of film cutting. 

If often takes several days of switching scenes back and 
forth to discover the proper sequence. 

Short comedies place a greater burden on the editor than do 
feature length plays. In the short picture a lot of ground must 
be covered in limited footage. There is no time for scenes which 
simply build atmosphere or character. All that must be done in 
action. 

Cutting from longshots to closeups is the method used in 
sustaining a situation. As a general rule, if a gag sustains its 
pace, its interest, it is the part of wisdom to let it run in the 
long shot. However, if it does not hold the closeup must be 
inserted at the proper time to enliven the effect. 

On the other hand, it is an easy matter for an editor to fall 
into the error of letting a longshot or a closeup run too long. Im- 
mediately a scene has registered its effect it is necessary to cut 
to another gag in order to preserve the general trend of the 
story. 

The "blending" "of one sequence into the succeeding action is 
another important phase in editing a film. This blending must 
be smooth and the switch in the action accomplished so that the 
spectator does not become conscious of the change of pace. 

To swing suddenly from one sequence into another sometimes 
results in a jerky effect which often confuses the audience, and 
breaks the thought of the play. 

The most common fault in editing short comedies is that of 
letting a gag run too long. In cutting comedies I would rather 
err on the side of being under footage than over. It is better 
to cut short and leave the spectator with the feeling that he would 
like to see more than to risk overplaying the gag. 

In making his final decision the film editor must forget the 
studio and think only of the theatre. 





CONRAD NAGEL 



342 



¥9 



¥9 



Pause Before You Become a Film Cutter 

FILM CUTTER is a man who goes into a small room, runs 



hundreds of thousands of feet of film under a light and 



sometimes makes a story where there is none. The film 
cutter is the doctor of the film world and he has a great many 
very sick patients at times. The film cutter must know conti- 
nuity, have a slight knowledge of directions, and an eye keen and 
embracing. Nothing in the film can escape him. It must be 
cut to the second, so far as action, entrances and exits are 
concerned and, sometimes, he works long hours at a stretch. 
Film cutting is not heard so much about in the film world except 
on the inside. But it is a very necessary department of the mo- 
tion picture industry. 

Like every other department of life, a film cutter must be 
an enthusiast, otherwise, he would be nothing. He must take a 
keen interest in every new story and, day after day, he must sit 
in a projection room and watch over hundreds and thousands of 
feet of film run off so that he can detect errors and inaccuracies 
in his own work. He must be his own critic at all times. Pos- 
sibly there is no part of the motion picture business about which 
so little is heard as film cutting and there is no department so 
arduous, which requires such concentrated effort, such minute- 
ness of detail and such natural or enforced interest in every new 
thing undertaken. 




g • v 7 



343 



IRENE RICH AND DAUGHTERS 



34+ 



¥5 



^5 



The Title Writer 

IT MAY be true that while the net total of a motion picture 
cannot be stamped as "an art," it cannot be denied that art 
enters into the making. There's the art of acting; there's 
the art of pantomime, of expression, of architecture, of interior 
decorating, of costumery, etc., etc., etc. 

Not many persons are aware of the importance of this ele- 
ment of picture making and, singularly enough, the more ef- 
fectively the literary element is placed in a picture, the less 
likely it is to attract attention to itself. It is like the accom- 
paniment to a good song — the better it is the more restrained 
and unobtrusive it is — only the expert critic is likely to detect 
its presence, or, at least, to be conscious of it. 

The literary art is invoked in the titles of a motion picture. 
"What do ycu do to a picture?" the writer of these vagrant 
paragraphs has often been asked. The answer nearly always 
fails to register. There usually arises a doubt — perhaps the 
speaker is lying. They don't believe he's really in the motion 
picture business at all. He just pretends he is. Why, anybody 
could write those remarks and explanations that come up every 
now and then on the screen. As for the spoken titles, relating 
to the audience what the players are saying, there's no ingenuity 
in writing them since the actors say them. Putting them on 
the screen is merely a matter of transcription, as devoid of 
originality as a stenographer's notes. And as for the explana- 
tory titles, anybody could do them since they are required by 
the picture and are dictated by the atmosphere, the plot and 
the characterizations ! 

After a few half -apologetic efforts to explain just what is 
implied in the term, "title-writer," the victim of that business 
usually gives up and admits his (or her) own futility in a 
world that affords him a better living than he deserves and more 
luxuries than he'd have the courage to steal. 

I have seen pictures absolutely "made" by their titles; I 
have seen pictures absolutely robbed of their value, commercial 
and artistic, by a set of clumsy titles. I have seen pictures the 
titles of which were a pitiful revelation of illiteracy and I have 
seen pictures the titles of which spread glamour, atmosphere 
and class all over scenes indifferently directed and carelessly 

345 



346 



THE TRUTH ABOUT THE MOVIES 



played. I have seen a piece of property — I mean a motion pic- 
ture — that cost its rash makers nearly three hundred thousand 
dollars, rescued from the ash-heap by a set of illuminative titles, 
and I have seen many pictures given entirely new and different 
plot impulses by virtue of titles which corrected faulty dramatic 
structure, seemingly inherent in the product. I have seen titles 
alter the significance of scenes to such an extent that a charac- 
ter "shot" originally in the act of nodding her head in an affirma- 
tion, so that where "yes" was shot, "no" was imposed. 

Sometimes stories are too casually accepted, too slightly con- 
sidered and placed in production without adequate examination 
of the logic of events and the truthful enfoldment of human 
impulses. The picture is completed and the producer finds that 
he has "a mess." Title-writers designate such a production as 
"a sick picture." The first step then is to engage the services 
of an experienced title-writer and editor, to take the thousands 
of feet of film that have been printed and make over the story — 
sometimes make an entirely new story with perhaps an occasional 
shot taken to help out the new scheme, but usually done with 
the film on hand. Such a picture goes forth and its own director 
— some incompetent ones survive in every business — wouldn't 
know it. 

To do such work well requires a variety of gifts and few 
of us who aspire possess them all. That is why title-writers and 
editors so frequently run in pairs, each supplying qualities that 
the other lacks. 

Occasionally, it is true, an inspiration strikes player or di- 
rector or "grip" or perhaps an "innocent bystander" when the 
scene is being made, and this reaction the wise titler will in- 
corporate in his work secure from the accusation of plagiarism 
because it is just as clever to pick a good title as it is to make one 
up — and usually much harder! 

Think what a title-writer Shakespeare, 0. Henry, Mark 
Twain, W. E. Gilbert and Victor Hugo would be. Thank God 
they lived in a long-gone epoch, before motion pictures, or we 
might not have "Hamlet," or "A Retrieved Reformation," or 
"Tom Sawyer" or "Songs of a Savoyard" or "Les Miserables." 
And a lot of us who struggle harder than Flaubert for "the 
proper word" would be seeking something even harder to do. 




¥5 



The Motion Picture Art Is the Youngest of 
All the Muses 

WHEN one considers that the motion picture art is the 
youngest of all the muses, so young, in fact, that the 
few decades of its existence appear almost negligible 
when compared to the age-old tradition of its sister art, the 
spoken drama, it is easy to realize that the screen, this latest 
medium of artistic creation, has not altogether found its proper 
mode of expression and is still borrowing many elements from 
outside sources which are alien to its very nature. 

To produce a perfect photoplay one must first of all realize 
that the art of the screen is wholly visual, that its only effect 
is upon the eye of the spectator and its only means of obtaining 
that effect is the movement of persons or other objects on the 
screen. But the motion picture art, conscious that its technique 
lacks perfection and feeling that it cannot obtain all desired re- 
sults by applying its own means, goes to the printed page and 
borrows substitutes from an art distinctly alien to the nature of 
motion pictures, interspersing the movement of pictures on the 
screen with words that either explain the action on the screen 
or tell a part of the story that is not shown on the screen. 

The results of using the printed word as a substitute for 
things which the screen by its own means, viz., moving pictures, 
cannot express, are pernicious and destined to retard greatly 
the development of the art of motion pictures along proper lines. 
One of the results is that a photoplay today often is nothing else 
but the narration of a story told in subtitles and interrupted by 
a series of moving pictures. In some cases this goes so far that 
not only the telling of the plot but also the characterization is 
done almost totally by means of subtitles and the motion pictures 
serve merely as illustrations. Too often titles are being used to 
describe a character in detail and to label him as The Hero, The 
Villain, The Neglected Wife, etc., depriving the audience of the 
chance to use their own judgment and forcing them to accept 
the opinion of the man who wrote the title. Too often the 
contents of a scene as enacted on the screen is summed up and 
retold in a title, because some one was afraid the public might 
not understand the subtle direction and for that reason became 
over-emphatic and underscored heavily where a mere suggestion 
would have been sufficient. 

347 



1. T. J. Crizer 

2. James Morrison 

3. Fred Harris . 



4. Warner Baxter 

5. Frank Butler 

6. Charles Swickard 



348 



THE TRUTH ABOUT THE MOVIES 



349 



What we must strive for as the ideal to be attained is the title- 
less motion picture. There is no use in concealing the fact that 
today the technique of the screen is not developed to the point 
where it is possible to dispense with the printed word altogether. 
There are still situations where it becomes necessary to let the 
audience know through a subtitle what the persons on the screen 
are talking about or where it is imperative that a lapse of time 
be bridged by the same means. On the other hand, can we 
easily dispense with all those titles that are being used today for 
purposes of characterization? The crude, unimaginative way 
of labeling persons in a photoplay by means of titles, robs the 
audience of a great deal of interest it would evince if given a 
chance to watch a character develop gradually before their eyes 
so that they could judge by his actions instead of being told in a 
title what they should think of that person. 

It is the task of the scenarist to invent little pieces of busi- 
ness that are so characteristic and give so deep an insight into his 
creatures, that their personalities clearly and organically unfold 
before the eyes of the audience so that the latter feel that the 
actions of these people are contingent upon their characters, that 
there exists some kind of a logical fate, and that nothing is left 
to mere accident or coincidence of irrelative happenings. For 
this reason it is so important that the scenario is written care- 
fully and with greatest thoroughness. A good scenario should 
contain the smallest details of business and leave nothing to 
chance direction or the whim of the moment, as even the mi- 
nutest detail from this viewpoint, is of as great an importance 
and in the end just as fatal as the greatest imaginable deed. 

In this construction of the characters of a photoplay the di- 
rector's inventive genius should collaborate with the scenarist — 
and then comes the hardest task of the director: to show the 
actors how to portray these characters on the screen. The trouble 
with many of the actors today is that they have just a small 
number of stock gestures and of set facial expressions which 
they repeat over and over again, no matter what the situation 
really calls for. Not only their range of emotional expression 
is limited, but also their mimic faculties in general are not de- 
veloped to the necessary degree. Facial expression and gestures 
of hands and arms are the only ones used, the handling of the 
body as a whole, walking, sitting down, getting up, and all other 
movements are more or less neglected, while they really should 
be studied carefully and then be properly adapted to the por- 




1. Victor Seastrom and wife 6. Jack Holt 

2. Kathlyn Williams 7. Jacqueline Logan 

3. Theodore Kosloff 8. Thomas Meighan 

4. Pola Negri 9. Agnes Ayres 

5. Thomas Meighan 10. Ernest Torrence 



350 



THE TRUTH ABOUT THE MOVIES 



351 



trayal of a particular role. The gestures of an actor must be 
so characteristic of his part and at the same time so expressive 
that the audience can understand him even when his back is 
turned to the camera. 

The first step the art of the screen must take in order to do 
away with the spoken, explanatory title, is a higher development 
of the mimic qualities of the actors. It might be well to revive 
the lost art of pantomime. In any case the screen should re- 
alize that it deals with a kinetic, dynamic, visual art and that 
it is more closely related to pantomime than to any other form 
of art. 

Once this has been fully realized, the absence of the spoken 
word will not be considered a shortcoming of the screen any 
more. Even on the stage, where the spoken word reigns supreme, 
the greatest and most intense moments are those of silence. 
When the great climax comes, the characters become speechless, 
words fail them. Deepest sorrow and highest joy are devoid of 
words, and the most subtle emotions cannot be conveyed by 
words — silence is more expressive than language. Looked upon 
from this angle, the element of silence is really an advantage 
that the screen has over the stage and of which it should make 
the most. _ X? 



Titling and Editing the Picture 
RIGINALLY — in the days when motion pictures were 



'entertaining because they were novel — the producer relied 



on the flickering pictures to keep the audience's attention, 
and just had subtitles inserted to bind the sequences together, 
after a fashion. 

There is often a temptation for the subtitler to make what 
are termed in film parlance as "wise-cracks" ; but this is a temp- 
tation which must be resisted because it leads inevitably to harm- 
ful detraction from the movement of the plot-thread. The good 
titler must catch the absolute homogenity of the entire produc- 





tion. 





"7 



1. Ceasare Gravina 4. Dorothy Devore 

2. Robert Anderson 5. Geo Madison 

3. Victor Fleming 6. Edwin Shallert 

7. Ben Lycn 



352 



¥9 



People Versus Plot 



^iii 




s 



TORY telling has two angles of 
appeal. It presents a plot that 
is interesting for its thrilling, 
romantic, or amusing situations. Or, 
it draws lifelike portraits of human 
beings and their actions in such ef- 
fective manner that the reader comes 
to know them as though they were 
real persons of his acquaintance. 

To transfer living characters to 
black type on white paper is more 
difficult. To so describe a person, his 
actions, his speeches, in words that the described person lives, 
lives vividly, before the mind of the reader, calls for deep study 
of life. It calls for great human understanding and tolerance of 
all sorts of persons. Of this type of story are most of the 
masterpieces of literature. 

For long years when stories were first being visualized by 
the flicking eye of the motion camera, plot was king over all. 
The characters were rubber stamp characters. All heroes had 
curly hair, heroic noses and eyebrows, and a cleft in a domi- 
nating chin. All heroines were sweet and girlish, and had a 
pet kitten or canary bird to play with, and to emphasize their 
innocence. All villains had sleek, black hair and dressed immac- 
uately. 

It was the plot era. 

Motion pictures have not yet freed themselves of this plot- 
and-situation slavery. Stupendous prices are yet being squan- 
dered for mediocre writings whose only value to the film producer 
is perhaps a widely known title and some unique situation. 

The other kind of story, the story that invests the charac- 
ters with human interest, that shows the growth of an idea or 
the development of a human mind — that is considered no good. 
The public doesn't want such things, the producer affirms, 
owlishly. 

Some producer has made a rare sacrifice to art. He has pro- 
duced one of these so-called highbrow stories and it flopped in 
every box office. The real reason was, perhaps, because it was a 



DIRECTING THE PICTURE 

1. Rupert Julian directing at Universal ! 

2. Frank Lloyd and his staff on location 



354 



THE TRUTH ABOUT THE MOVIES 



355 



poor example — high-brow in idea but inferior in execution. Or 
it may have been altered and mutilated in adaptation. Or the 
direction and acting may have divorced the public's interest. 

But "never again," says the producer. He really believes he 
has contributed something worth while to art, and that it wasn't 
appreciated. Poor starving lamb in the lion's den of literature ! 
He goes back to his safe and surefire mediocrity again. 

Of course, there must always be "entertainment" on the 
screen. (Some exhibitors and producers have misused the word 
until it has become a synonym for piffle.) There will always be 
a demand for the picture that merely gratifies and soothes the 
tired business man and the blase society woman and the weary 
working girl. Yes, just as there are always magazines of blowsy 
stories, stupid stories, mystery stories, detective stories. Cheap 
narcotics of literature. 

It is possible to tell a great story in motion pictures in such 
a way that the spectator forgets he is gazing at beauteous little 
Gertie Gefelta, the producer's pet, through a window at life 
itself. He will come to believe that what he is looking at is real. 

Somehow a cameraman was present in the household and no- 
body knew it. They all went on in their daily life, with their 
joys and comedies and tragedies. And the camera caught it all, 
held it for others to gaze on. 

Even so did Dickens and de Maupassant and Zola and Frank 
Norris (of this country) catch and reflect life in their novels. 

The screen has seen little realism strangely enough. "Miss 
Lulu Bett"; some of Will Rogers' pictures; "Grandma's Boy" 
and "The Kid," among comedies; moments in some of Neilan's 
pictures; Vitagraph's two-reel production of "The Cop and the 
Anthem," and other 0. Henry stories; Rex Ingram's "The Con- 
quering Power." That's about all. 

There must be more of this realism on the screen. It is my 
humble ambition to furnish some of it. It is with that idea that 
I am producing Frank Norris's story, "McTeague." And I have 
others in mind I hope to do. 




^9 



In the Tomorrow of Film Production 

r HAT will be the next advance in screen productions ; who 



will make it — how will it be made? Often has the ques- 



tion been asked and many different answers have been 
returned, but to me there is but one answer — Motion pictures 
must be given a soul. 

Whereas in the past, spectacle, technical novelty, elaboration, 
and mechanical effect have brought about our greatest triumph, 
in the future, progress must be made by artistry, understanding, 
study, and careful hard work. Where we have been creating 
"songs" in the past we must create "symphonies" in the future. 
Where we have been "tricksters," and "assemblers" in the past 
we must be real "spiritualists" and "artists" in the tomorrow of 
film production. And by "we" I mean producers, directors, 
actors, authors, technicians — every one interested in the prepa- 
ration of a film play for the public. 

The novelty of motion pictures is gone. We must not make 
attending the theatre in the future a fad or a habit; we must 
make our productions compel interest. 

In five years the art of photography has developed more 
than in sixty-five years previously. Studio lighting has reached 
the point that it justifies recognition as a distinct science. Studio 
properties have become so perfect that they deceive expert 
craftsmen; we have miniaturized aeroplane wrecks and ship 
disasters, duplicated perfectly some of the finest architectural 
achievements in history and we have made artificial spider webs. 
At a moment's notice we have injected spectacular incidents into 
weak scenarios and we have manufactured thrills, suspense and 
romance to fit the occasion. In fear that our idea might not hit 
the mark we have exaggerated life and we have missed the sweet- 
ness, the delicacy, the super-fine fabric which is real life, truly 
impressive and thoroughly satisfying to behold. There have been 
a few pictures which will always live as masterpieces of dramatic 
and cinematic achievement, but too few. The future success in 
studio work depends on those who know their subject, not 
think they know it; those who observe, study and accurately 
interpret ; our pictures must be a part of us ; we must not manu- 
facture a story to match our weakness — we must build our 
strength to match good stories. 




356 



THE TRUTH ABOUT THE MOVIES 



357 



Indeed the greatest advancement that can be recorded in the 
future history of the screen will be noted in giving the motion 
picture a soul — that inspirational depth it has little known before 
and cannot progress without. 

Who will advance the art of the screen ? 

Every man and woman interested in the making of a motion 
picture must do his or her full share. 

The author must write well about subjects he knows inti- 
mately. It isn't necessary to have a train wreck, an automobile 
chase, a half dozen murders, million dollar settings in every 
story. But stories must have sincerity, a clearly defined moral, 
must accurately describe life — there must be genius visible in 
the network of every theme. One real good situation may be 
sufficient to make a story an immortal triumph if it has quality — 
not just quantity of dramatic incident. 

The producer must assist the creators of screen plans by 
allowing sufficient time to make pictures correctly. No great 
masterpiece of art has ever been made according to a time-clock. 
Money must not regulate a picture's greatness. One story may 
cost a million dollars and another equally as impressive only 
fifty thousand. The producer must select his story wisely and 
his directors and actors carefully. The producer must encourage 
new ideas, new methods ; not establish a hard and fast rule which 
prohibits the progress of art. 

Perhaps the greatest advance the screen is to know must 
come from the actor. The actor must actually live his part, how- 
ever small; he must know his character. He must not be visibly 
acting, his every gesture must be natural, typical and accurate. 
He must have poise. 

Today there are too few actors in the studio, which accounts 
for a few so-called stars appearing in so many pictures; even 
the best of them have become more like machines than real 
people. But, until the screen can obtain new talent (not just 
new faces) for its histrionical duties, its progress is bound to be 
very slow. There are too many actors and actresses on the 
screen today who have become successful because they are 
"types" rather than "artists," which condition is responsible for 
so many changes in the popularity and commercial value of some 
players and the steady increase in the success of others. 

The best acting talent in America today is in the stock com- 
panies, where one actor must play many different roles, must 
become intimate with many different characters, must study 



358 



THE TRUTH ABOUT THE MOVIES 



every day and must make his success by his knowledge of many 
things not of just one particular type. 

A motion picture is only made once. The actor of the future 
must have experience enough to supply any number of moods 
and characters upon call. In the past we have been more con- 
cerned about an actor looking his part than we have in his acting 
his part. In the future the demand will be the reverse and ap- 
pearance will be secondary to understanding. 




>j< j{j >jj 



The Real Meaning of Screen Construction 

SOME artists create in words, in marble or on canvas. The 
director creates by visualizing characters, situations and 
their results on celluloid. He takes the brain children of 
the dramatist or the fiction writer, remodels them in his own 
consciousness and then sends them out, clothed in screen semb- 
lance for other people to SEE. 

Without question, the ability to conceive things visually is 
a gift just as some people are born with a genius for words, 
others for sounds which they compose into great sonatas. The 
"picture mind" is a type unto itself but like all other native 
talents it can and must be developed. 

Some of the screen's cleverest directors have found their 
training merely in studying the mechanics of screen building. 
In humble capacities, they have assisted in picture production 
until with hard work and fertile suggestions they have proven 
themselves fit for the responsibility of active direction. Others 
have found an opening through the training that comes with 
stage direction. Occasionally an actor finds that he has more 
ability to express his histrionic powers by telling others what 
to do or what NOT to do than in acting out characterizations 
himself. 

There are a dozen avenues of approach for the one who as- 
pires to become a picture director but the "A. B. C." lesson 
is to make a practice of visualizing thought and of learning what 
constitutes dramatic action. 




^9 



Nature in Film Drama 

NATURE is the great dramaturgist. Man, with all his 
petty upheavals, cannot equal a storm at sea. The shout- 
ing of a human voice, mighty among men, is as nothing 
against a single roar of thunder. 

Humans frighten other humans with man-made inventions. 
Nature hurls a flash of lighting, and laughs mockingly as all men 
hide their heads. Master builders — human ones — rear great 
buildings, towering in the sky. The meanest hill, thrown up by 
Nature in an idle moment, shames them. 

"The Great Divide" will give me an excellent opportunity to 
work out my favorite type of picture. 

The sea has been a favorite subject with me. It is the most 
awe-inspiring thing in nature to me. 



Screen Realism 

THE screen's greatest need today is realism. Things fre- 
quently happen in pictures which are not logical, things 
which never could happen in real life. 
When you see human beings actually doing things, you are 
inclined to accept those things as logical. It is not until after- 
wards, when your reasoning faculties begin to go over the mat- 
ter, that you question and doubt, 

Frequently the scenario is at fault. In order that every 
scene in the picture shall be logical, the scenarist should see to 
it that there is no straining after points through the establish- 
ment of improbable situations. 

Realism on the screen does not necessarily mean something 
offensive. The word has been used in that sense until it has come 
to stand for it. Realism should mean simply truth and it is pos- 
sible to present truth pleasinglv. — ^ 



359 




360 



The Director 



DIRECTOR is popularly supposed to be a very much 



sought after individual, who leads a mysterious life and 



receives a big salary and takes it very easy. When I was 
an actor some years ago, I looked ahead. I had certain ideas of 
my own, which I sought to express on the screen. I learned the 
dramatic business under competent directors and on my own 
initiative, adding my ideas to their technique, developed frequent 
disappointments and determinations, and finally became a 
director. 

Work is a director's middle name. He receives a "script.'' 
He has to conceive the story, see it in its every scene and phase, 
including costumes, locale, technique, and then put it on the 
screen so as to live up to his own conceptions, the author's con- 
ceptions and please the public and make money. He spends 
sleepless nights and busy days and, when the story is finished, 
he goes into the cutting room, supervises the cutting of his 
film, looks at the titles, and then, just as he draws a deep breath, 
he starts in on another picture. 

If you think it's easy, try it. 





361 



1 3 5 6 7 — Hal Roach's "Dippy-Doo-Dads" 8. Animals at Hal Roach's Studio 

2. Rin-Tin-Tin 9. Tom Mix's Tony 



362 



^9 



¥5 



The Assistant Director 



HE Assistant Director is the man who loads the guns, dis- 



poses of the extra people, looks them over to see that they 



are costumed properly; in fact, he removes as many 
obstacles from the Director's path as possible, in order that the 
Chief may devote himself to securing the best dramatic results 
from his people and not be bothered by small and irritating de- 
tails. An Assistant Director does a million things he is told to 
do and then invents a milion others which must also be done. 

He calls the people, keeps track of their wardrobes, also 
of their entrances and exits in previous scenes. The Assistant 
Director is a Director in the making. He must be able to assist 
the Director with his story at the beginning. He must be the 
Director's friend and companion ; therefore, there must be a com- 
munity of interests, personally, between them. At all hours of 
the day and night, the Assistant is busy. He never stops work- 
ing or thinking to the best of his ability. When he thinks every- 
thing is prepared and ready to shoot, something happens. At a 
moment's notice, a difficult obstacle must be smoothed over and 
he is supposed to have the mysterious power to do it. If he 
doesn't, something else happens. He must be familiar with all 
the actors and actresses on the screen so that, when a part comes 
up, he must be able to make suggestions. He must also act as 
a buffer between the Director and those who would and do annoy 
him to death with meaningless nothings. He must be a hard 
worker, a diplomat, somewhat of a politician, a likeable per- 
sonality and he must have a knowledge of all branches of the 
business. 





363 



¥5 



¥9 



The Value of the Animal in Pictures 

HILOSOPHERS have yearned for the idyllic existence of 



an oyster, with a maximum of contented quietude and a 



minimum of effort. But even an oyster might envy the 
animal actors which appear in Hal Roach's comedies. There is 
yet to be a case of record in which an oyster had a valet, but 
every animal playing an important part in Roach productions 
receives personal service that might well arouse the jealousy of 
any film queen. 

Hal Roach has loved and owned dogs and horses all his life. 
Now that his is the affluence that success as a motion picture 
producer brings, the sentiment is just as strong as when he 
mushed along Alaskan trails in his early, roving youth. He has 
been hungry, cold and alone. He has seen animals suffer, too, 
held by their mangled limbs in the cruelly inhuman traps that 
snare wild creatures so milady may have new furs for the winter 
season. His is the compassion of a man who knows animals. 

On Hal Roach's ranch near his studios in Culver City, there 
is one of the finest collections of horses and dogs in the United 
States. There are Shetland ponies, a trick mule, trained polo 
ponies, sleek, well-groomed saddle horses, and — king of them all 
— a fiery, thoroughbred stallion that stole all honors from a cast 
of eminent actors in its first appearance before the camera. 
There are dogs of all sizes and breeds. There are goats, chick- 
ens, geese, pigs, monkeys — even a bear. All have done their 
bit before the camera. 

The ranch is the home of the Dippy-Doo-Dads, those one-reel 
animal novelties Hal Roach has given the screen. It was here 
that Buck, the big St. Bernard hero of "The Call of the Wild," 
received his screen education and helped the late Jack London 
carry his message of kindness to animals to many more millions. 

A crown prince couldn't have been handled with more intel- 
ligent care than was Buck. This dog not only represented a huge 
financial investment, but was the intimate friend of everyone in 
the Hal Roach organization. Buck had a personal attendant at 
all times. His health was zealously guarded by an expert vet- 
erinary. When the snow scenes were to be taken at Truckee, 
California, for "The Call of the Wild," Buck was taken there two 
weeks in advance of the company to become acclimated. He 




36+ 



THE TRUTH ABOUT THE MOVIES 



365 



first was taken for short walks in the snow, heavily wrapped 
in blankets. The blankets were gradually lightened as the dog 
became innured to the cold. During the taking of the snow 
scenes, however, the attendant stood by and kept Buck snugly 
covered every moment he was not before the camera. 

The first scene in the picture, showing Buck playing with a 
group of children, was the last scene actually photographed. 
The dog was never happier or in better health. Some time later 
Buck was taken sick. Every resource of science and money was 
called upon without avail. Buck died from natural causes, just 
as other popular figures in public life have been taken away. 
His death cost Hal Roach, conservatively, 825,000, as well as 
leaving a heartache with his memory. The dog had a future 
on the screen, as well as a past filled with fond recollections for 
those who had played and worked with him. 

Buck's place as head of the Hal Roach animal contingent 
is now held by Rex, the magnificent stallion that leaped into 
cinematic prominence in the stellar , role of "King of Wild 
Horses." Fred Jackman is now preparing a new production for 
this equine star and the horse has a tutor continuing his educa- 
tion for the screen. Less than a year ago Rex was a vicious 
outlaw in Colorado, chained in a stall and feared by all who 
knew him. He now lives in luxury, the life of an equine gentle- 
man. His slightest indisposition causes general alarm and his 
diet is as carefully watched as that of a dyspeptic banker. Rex 
has been reclaimed for a useful life through his new motion pic- 
ture friends. 

The monkeys appearing in the Dippy-Doo-Dad comedies are 
probably more delicate in health than any of the other animals. 
They are particularly susceptible to tuberculosis. Regular prac- 
ticing physicians are called upon to guard the health of these 
simian actors. At the slightest sign of indisposition Hal Roach 
will send a monkey to the hospital in Culver City where the 
animal receives all the attention that could be shown a human 
being. 

His horses and dogs and other animals are his intimate 
friends. They all know him and attest their affection with 
the antics and outcries of their kind whenever he comes among 
them. Not to treat them well would be the base ingratitude of an 
unfaithful friend. 

But aside from common decency there is another side. These 
animals represent a huge financial investment, in their years 




BILL DESMOND AND PALS 



366 



THE TRUTH ABOUT THE MOVIES 



367 



of training and maintenance. To jeopardize their health or 
appearance either through careless treatment or through per- 
mitting cruelty in their use before the camera would be the 
height of business folly. Besides it would accomplish nothing. 
A horse will perform much better for the promise of a carrot 
or lump of sugar at the end of a task well done, than under the 
threat of a blow. 

There are societies dedicated to reforming everything in mo- 
tion pictures from the morals of messenger boys to the filing of 
income tax returns. These misguided and misinformed individ- 
uals, generally with the best of intentions, are continually view- 
ing something with alarm. Some of them even protested at the 
use of Rex before the camera, after Roach had salvaged him 
from a life of cruel captivity and made him a good citizen. 

One woman raised a shrill hue and cry against all Roach 
pictures because the producer declined permission for her to roam 
at will with any number of her friends about the Hal Roach 
studios during the making of pictures. The fact that all studios 
are closed to visitors for reasons of economic efficiency, made no 
impression whatever. 

Mr. Roach has issued a standing invitation to all sincerely 
interested in the humane treatment of animals to visit his stables 
and kennels and see how these animals actually live and work. 

The idyllic life of an oyster might have its appeal to some, but 
the lowly bi-valve never knows the thrill of seeing itself on the 
screen. There is no more interesting sight than that of a 
highly intelligent dog in a projection room, barking at the silent 
shadow of itself in motion pictures. 




PETS OF MOM ELAND 

1. Pola Negri's Pekinese 5. Estelle Taylor's Police Dog Puppy 

2. Theodore Roberts' pet seagull, "Ebb" 6. Agnes Ayres 7 Boston Bull 

3. Jacqueline Logan's Chow 7. Pola Negri's Greyhound 

4. Wanda Hawley's Pets 8. Tack Holt's Bulldog 

368 



^9 



¥5 



Directing Animals in Pictures 

DIRECTING Rintintin, the police dog, is very much like 
directing a child before the camera. Rintintin, brought 
from France (personally) during the war, did not start 
out to be a motion picture star. I trained him for police and 
Red Cross work and some time later a show of police and shep- 
herd dogs was given at the Ambassador Hotel and Rintintin 
broke all records and took all honors for jumping and other 
feats of canine skill. 

Slow motion pictures were taken of these stunts and I had 
the reel shown for Rintintin's benefit. At first the dog did not 
know that he was watching pictures of himself but when it 
dawned on him his tail wagged ferociously. It was then that 
Rintintin first aspired to motion picture stardom. 

When he made his first appearance before the camera it was 
difficult to direct the dog without having him turn and look into 
the camera. So I rehearsed him in a room of mirrors so that he 
could see all directions given, without turning his head. Soon 
he learned the words and did not depend on seeing the motions 
of the hands to get his cues. 

Now Rintintin will go through a scene like a veteran per- 
former and never look into the camera. 

I am ever present when the director is directing Rintintin 
in a scene and go over each bit of business with the star. It 
takes untiring patience and things must be explained to him, 
very much as you would explain things to a small child working 
in a scene. 

Rintintin has never been whipped and the wonderful things 
this dog accomplishes on the screen are accomplished through 
kindness and instructions — but never with the whip. Even in 
scenes where Rintintin is supposed to be beaten, I never permit 
a whip to touch the dog. 




369 



ROD LA ROCQUE 



370 



¥5 



¥5 



Wearing- Apparel for the Screen 




UT few people outside the profession realize the really hard 
work which falls upon an actor in picking out the clothes 
he is to wear on the screen. 



Business men who step into their tailor have it comparatively 
easy. They need only consult their own taste. If they want a 
light tan suit — they get it. If a tie with polka dots hits their 
fancy — they buy it. It's a pleasure to buy new clothes — when 
that is all you have to think about. 

Buying clothes to wear in photoplays, however, is a much 
harder problem. Regardless of the shades you may personally 
like in cloth — you must get colors that photograph well. Hence 
that it is often necessary for us to wear things that we would 
not select for street wear. For instance, the fad of colored 
shirts with collars of the same shade — came from a motion 
picture necessity. Motion picture actors found that light blue 
collars photographed better than white — and for that reason 
only began to wear them. Now the vogue is international. 

It is necessary in buying clothes to remember that motion 
pictures are made co-operatively. Our suits must not jar with 
the general color tone of the sets — nor with the gowns worn by 
the ladies of the company. 

And we must have dozens of suits. We cannot wear the 
same suit in successive pictures — and we must have several 
changes for each picture. 

The problem of the tailor and the haberdasher is not the 
least the man in pictures must solve if he is to succeed. 




371 



^5 



Wardrobe Department 

WHEN I first considered going into motion picture work my 
thought was that the only requirement would be the 
designing of smart, original clothes. 
I soon learned that the first thing one must grasp, before 
ever a needle is put to cloth, is the director's interpretation of 
the story that is to be produced. 

The action of the screen play may be set in a period calling 
for a certain style of costuming. The shifting of that period 
only a few years will mean an entirely different style of cos- 
tume. Or it may be a modern play featuring a small-town girl. 
She would be dressed very differently to a girl from New York 
or any other large city of the same season, and entirely different 
from the public's opinion of the dress of the Parisian girl. 

I have hundreds of girls applying for positions as designers 
in the studio. Only once in a while does one make good and then 
because she is able to adapt herself to character, costume and 
vagabond clothes. 

Colors alone are a great study, because one is never certain 
how they will come out under the lights. 

My advice to all students of design who aspire to a position 
in a studio is to obtain all the practice and experience you can 
get; with a dress form and some cheap cloth, try to make the 
garments you design; in your sketches make your figures fat, 
lean, tall and short. A good experiment is to design a costume 
for a nice, slim figure such as you see in the fashion magazines, 
and then make the costume to the same proportions as the 
sketch. 

The result will surprise you, as the average sketch is all out 
of proportion and is not adaptable. 

In carrying out this experiment, however, you may discover 
that you have unusual talent as a model maker. If you have you 
would be a more valuable asset to a studio than a person merely 
able to make sketches. 

ETHEL CHAFPIN 

Fashion Designer for Paramount 



372 



^5 



The Necessity for Originality in Photo-plays 

THE motion picture is so new that it has practically no dead 
authors, therefore, no great authors, for critics of a cer- 
tain ancient sort to use as clubs to bash living authors with. 
Motion pictures are so new and the forms and methods still so 
elastic and experimental that the unfortunate critics have noth- 
ing to call classics and to use as stumbling blocks for exploring 
feet. 

Therefore, the high-minded critics call all motion pictures bad 
and all forms and methods trashy and puerile. By staying away 
from the picture and passing the theatres where they are shown 
with averted eyes of maidenly horror, these critics satisfy them- 
selves of their superiority and do the film no more harm than 
King Canute did to the sea when he told it just how far it 
could go. 

We are still in the pioneer stage of the photo-play. Mistakes 
are many and it is not easy to find all the best passes across the 
mountains and the great salt lakes. But the pioneers are after- 
ward looked back upon as giants and the critics who sneered 
at the blundersome Columbuses and Cabots and Raleighs are 
now chiefly remembered because their only contribution to prog- 
ress was that of the gadfly and the cockroach. 

The earliest film successes, like the earliest epic poems and 
historical dreams, were filled with spectacular incident, elaborate 
trappings, battles, animals, gods and desperate adventure. 

All the arts have always had an interest in huge canvases, 
great sculptural groups, cathedrals and palaces, symphonies, 
grand operas, costume novels, pageants, and other forms of 
grandeur. 

So there will always be a place for moving pictures of cast 
mechanical or spectacular nature. And the generalship required 
in such works often reveals a wonderful intellectual and emo- 
tional strategy. 

But even in the biggest spectacles the moments of greatest 
appeal have usually been casual bits of graphic human veracity, 
a touch of character, or of sympathy, or of vivid reality. 

The censors would seem to pretent that there was never any 
wickedness in the world until pictures began to move. And 
the critics would have us believe that faulty construction, in- 

373 



CARMELITA GERAGHTY 



374 



THE TRUTH ABOUT THE MOVIES 



375 



sincerity, illiteracy, Philistinism and sensationalism were never 
heard of in books, plays or art galleries. 

The camera will always make mistakes and be guilty of sins 
of taste or of judgment. But this is true also of the brush, 
the chisel, the pen, and the typewriter. 

The author, who loves to disclose humanity to humanity, will 
find in the camera a marvelous instrument of expression. 

He ought to learn screen technique just as he learns grammar 
and spelling or the mixture of colors or counterpoint or the me- 
chanics of architecture, so that 'He may express his own ideas 
in his own way. Once he has acquired a little proficiency in the 
language he will find that his greatest success will come from 
his sincerity. 

There is still some conservative hostility among the earlier 
scenario writers toward too much sincerity but the conservatives 
exist in every art. 

As Dumas needed only "three boards and a passion" to make 
a play, so for a photoplay one needs only a camera and a passion. 
The spectacular element is unnecessary. The clash of character 
is more thrilling than the clash of armies ; suspense of realistic 
situation than the most complex devices of coincidence or melo- 
dramatic villainy; soul-wrecks are more exciting than ship- 
wrecks and the race of ambitions than of chariots. 

The mystery story, the detective and criminal plot are wel- 
come as they should be. The man who is too intellectual to like 
them is too intellectual to live. Pessimism and cynical gloom 
are no more welcome here than in the other arts, but high tragedy 
has full scope. 

Simply homely pathos or humor, graceful romance and poetic 
fervor, human beings undergoing human experiences with human 
emotions — these make an appeal that is as tremendous as it is 
artistic. 

The camera has graduated from the nursery and the fairy 
story period to the dignity of a grown-up art. 





376 



^5 



What's Wrong With the Movies 

IF YOU want my answer — "Nothing!" It's what's wrong with 
those who don't move ! The "move" in movies is that which 
makes the industry the great factor it is. There is too much 
fear for one thing. Everyone is afraid to take a chance. Let 
one producer make a dog picture or a horse picture or anything 
that succeeds, then watch the flock of dog, cat, monkey, daugh- 
ter, mother or whatnot films that follow in its wake. And how 
few follow-ups ever duplicate the original success. Simply 
because originality in movies is what counts — originality and 
inspiration — and we know that imitations can never be inspired. 

I believe in the ultimate development of the Little Theatre 
movement in pictures. The Little Theatre made its success by 
producing not only the best and most worth while, but also by 
regarding entertainment as an important factor. Give the public 
what it wants. And this" is to be accomplished not by present- 
ing highbrow material, but by developing real entertainment to 
such a degree of perfection and intelligence that it does not bore 
the "cripplewits" ; neither need it bring forth that all too fre- 
quently heard remark, "an insult to the intelligence," from those 
who make up a great part of the public. 

In all productions bring forth the child appeal in some way. 
In real life how few are the families wherein the child interest 
is not paramount? We try to typify on the screen life in all its 
realism, the more true to life, the more interesting the picture. 
Therefore the child is not only entertainment, but a ncessary 
factor if realism is to be faithfully depicted. 




377 



Elements of a Screen Story 

IN THE present stage of motion picture development the most 
desirable elements for a screen story are action and settings. 
Writing for the screen is a question of adaptability. 
Shakespeare, with his long stage training, would have been a 
great screen writer, even had he not been a great weaver of 
words. His rapid shifting of the action in his plays, the vitality 
of them, combined with the swiftly moving events, his delinea- 
tion of his characters, through their own actions, his plots, inter- 
woven and deftly worked out, are all symbols of great and in- 
nate scenario ability, though he knew not the term. 

Homer is another who was a natural writer for the screen. 
His word pictures are heavily detailed with action that is de- 
cisive, swiftly moving and well visualized. 

There are other writers whom it is next to impossible to 
screen, and who would have found it impossible to have written 
for the screen. I refer to such writers as Henry James and 
others. 

Mr. James lacked directness, both in writing and thought. He 
was subtle and garrulous and seemed to delight in playing with 
words. There may be a day in the future when we shall have the 
long dreamed of division of audiences, but we are dealing with 
the present and the next five years or so. 

All good drama must have at its very core a great deal of 
pantomime. All great acting, in a sense, is pantomime raised 
to the highest level. It may be safely said that there is no 
great drama without great pantomime. Lady MacBeth, worry- 
ing over her blood-stained hands in the center of the stairs after 
the murder of the king; Charles Gilpin as the Emperor Jones, 
expressing the horror and the brooding, mystified wonder of 
his race — these, and all others, are using pantomime to get over 
an effect as much as they use words. 

In fact, it is easily within the bounds of the very near future 
possibilities that we will see an entire drama acted on the New 
York stage without a spoken word. This already has been done 
in one or two foreign countries with great success. 

With the advancing art of the motion picture, the art of the 
story also will advance. For instance, there is a vast difference 
in the scenario of today compared with the scenario of ten years 
ago. The screen writer, no less than the writer for the stage or 
magazine, must bring to his work a viewpoint that is original, 

378 



THE TRUTH ABOUT THE MOVIES 



379 



vivid and sincere. The day of the trick screen writer is over, 
for the world is steadily calling for something different that is 
completely away from the hackneyed plots and worn out devices 
of yesteryear. 

The screen writers of the future will be developed in the same 
way that other writers always have been developed — from the 
ranks of those who have lived, and loved, and suffered. 

Were I to whisper a few words to all ambitious screen tellers 
of tales, those words would be: "You can really know only that 
which you have lived." When that is remembered, talent and the 
capacity for hard work being equal, success is more nearly certain 
of coming. 

The screen writer is bound to have a far more significant ap- 
peal. He is not forced to leave anything to the imagination, 
since he appeals directly to the eye. The canvas on which he 
can paint his picture is of unlimited scope. The greatest stage 
settings of "Ben Hur," the play, will look like a doll house in 
comparison with those that will be filmed in the picture version. 

As, year by year, the screen horizon broadens, so likewise will 
broaden the opportunities of the screen writer who has had the 
pluck and patience to serve a long apprenticeship. 



Scenario Writing requires much skill and you are competing 
with competent writers whose reputations have long been estab- 
lished. There may be good scenario writing schools, but for each 
one of these there are probably ten to twenty which are snares 
out to gull the public. 




1. Marian Ainslee 

2. Rupert Hughes 

3. Clara Beranger 



4. Sada Cowan 

5. Grant Carpenter 

6. Howard Higgins 



380 



¥9 



The Art of Story Telling 



TORY telling always has and always will be the universal 



and constant diversion of mankind. When one is alone, one 



tells stories to oneself, not only permitting, but urging the 
imagination to the wildest extravagance. Such stories are very 
entertaining — to oneself — but are not told to one's friends. 
When one tells a story to another, one is torn between the 
desire to be believed and to be entertaining, so usually compro- 
mises by embellishing fact with fiction. One who adheres too 
strictly to fact becomes a bore ; and one who leans too strongly 
to fiction is regarded as a liar. The first essential in the art 
of story telling, therefore, is that fact and fiction should be 
mixed in exactly the right proportions. Anyone can, with long 
practice, narrate a fact, somewhat embellished, in a credible 
and entertaining way to someone who is credulous and easily 
diverted for a few moments; but it is only an artist who can 
entertain millions for the full length of a novel, a play or a pic- 
ture and at the same time maintain the illusion of reality. 

Story telling is one of the learned professions, requiring 
special preparations, years of training and practice and a broad 
knowledge of the world, gleaned from actual experience; and 
telling stories with pictures is a highly specialized branch of the 
profession involving familiarity with all literary forms and some 
acquaintance with the arts and crafts associated in picture 
production. 

You among the uninformed public should understand that 
there is about as much chance of a motion picture producer 
trusting his eye to a "cataract specialist," who has studied surg- 
ery for a few weeks, as investing a fortune in the story of a 
"scenarist," who has "taken a course" in screen writing; and 
if you tell yourself a story of easy fame and quick fortune 
achieved by scenario writing, don't believe it. Just lay it away 
with the other stories you conceal from everyone — and forget it. 





381 



JEANIE MacPHERSON 



382 



^8 



Building the Dramatic Scenario 

THE trouble with ninety-nine out of one hundred stories 
is that they lack the cement of perspective. 
A group of very pretty, well-made bricks of situation 
and character portrayal are made and are set on top of each 
other. But they tumble in a heap when pushed with the prod of 
dramatic analysis because there is nothing to hold them together. 
And even if there is a slight joining medium running through 
the story structure, oft times the brick of particular characters 
is so much larger or smaller than the situations to which it is 
attached as to create an equally dangerous weakness. 

I would be carried away with the particular series of ser- 
mons I was writing. I would build them and build them and 
build them. And then at the end I would find them utterly out 
of proportion to other elements, equally important dramatically 
but not nearly as interesting to develop. 

And I would find that a small minor character would so in- 
trigue me that I would load upon the lady or gentleman a great 
deal of very important business which would give them a flash 
in the limelight for a few scenes and then die out, without having 
advanced the story in any way. 

A story is a unit and not a conglomeration, but this is a fact 
that few who desire to write ever learn. 

Amateur writers too often get panic-stricken when minor 
characters get out of hand. The tendency then is to throw too 
much of the plot to them and, as a result, the story develops a 
jarring flat wheel. 

When a minor character seems to be gobbling too much, I 
transfer its business to a major character and thus move toward 
a smooth, direct plot. 

But sometimes this action is real torture. In "Don't Change 
Your Husband," I had a wife's friend who was simply lovely. 
She was a piquant, delightful little piece. I had all sorts of fun 
playing with her. But one day I woke up and found she was noth- 
ing but a nice, big log right square in the path of my leading 
lady. I wept about twenty-four hours, and then carefully ampu- 
tated my pet, transferring all of her important action to the 
feminine principal. 

383 



384 



THE TRUTH ABOUT THE MOVIES 



I would say, "Keep your minor characters down to the limit." 
But you must have some. Those that pass the acid test are very 
vital to your story in their capacity as scavengers, removers of 
waste material in the way of the plot's progress. 

Take Lois Wilson's baby boy and her mother in "Man- 
slaughter." You see the boy but twice or three times — and yet 
he provides the motivation for all of the tense drama which 
sourround's the mother part and he does it with very little waste 
of "footage." 

The boy's grandmother you see but once, but that one time 
saves us half a dozen titles and keeps the audience from worry- 
ing about the child for three reels, by showing us that the boy 
is being kept well and happy while his mother is in prison. The 
grandmother is an excellent example of the manner in which a 
minor character may keep debris from cluttering a plot. 

Cecil B. De Mille has me read this first synopsis to him. But 
he does not allow me to relate the story as I have written it. He 
forces me to condense the flower of my imaginative wTiting into 
plain, unadorned description of the dramatic action. His reason 
for this is that he does not wish to have his dramatic sense 
clouded by the imaginative fervor of my first rush into the 
story. 

Then comes the "one-line continuity," Each scene is written 
in one or two lines. It is the "clearing house" of the story, for 
here we are concerned with straightening out the structure and 
the motivation. Everything is eliminated that is not essential to 
the building of these fundamentals. 

Then I start my second continuity. In this continuity I am 
through with the problems of building structure and drama. My 
sole concern is with the precision and accuracy with which my 
characters move, the determining of whether it would be better 
for a certain player to die in the sitting room or the bedroom, 
etc. 

But a scene that sounds great on paper may fail to hit when 
the camera cranks upon it. And back it comes for revision, and 
it is changed until the minutest detail holds water. 

Finally the picture is finished. > 




^5 ^9 

The Art of Story Telling — A Plea for Progress 

THE art of story telling per se is explained in detail in other 
portions of this chapter by the leading writers for the 
screen, successes not only financially but artistically. The 
plea which I believe is most necessary to broadcast is an expla- 
nation of the one great step forward which must come about 
in the scenario field. 

Strictly speaking, there is no such person as the original 
screen dramatist; and until we get him, we shall have no great 
screen drama, as there are great stage dramas. 

He who has an idea to express on the screen, writes it out 
in the form of a narrative which he submits to the producer. 
If this narrative is acceptable, its inherent idea, plot or fable, 
is then transferred to a distinctly different medium: a motion 
picture scenario. This operation is usually performed by a 
second person, a specialist, designated as a scenarist or conti- 
nuity-writer; and this scenarist is under the supervision of the 
producer, the director and, should there happen to be one, 
the star. 

Now — the technical requirements of a narrative and of a 
motion picture scenario are vastly different. Consequently, in 
the transference from one medium to the other, the force of the 
original idea is largely lost; for what is effective in narrative 
is often ineffective in drama, either for the stage or for 
the screen. 

Suppose, for example, playwrights like Ibsen or our own 
Eugene O'Neill, had to submit their plays by merely outlining 
them in brief narrative synopses and then the finished product 
had been evolved by play-hacks analagous to our usual con- 
tinuity writers — for at best that is all the continuity writer is. 
Imagine the result! 

The nearest approach to the screen dramatist today is the 
continuity writer, who adapts the original stories of others to 
the films. The time required for this operation ranges from 
twenty-four hours to two months the average is about three 
weeks. For this work, he receives from five hundred to five 
thousand dollars; and the average here is about one thousand 
dollars. Thus the continuity-writer is really little more than a 

385 



386 



THE TRUTH ABOUT THE MOVIES 



hack, working on second-hand ideas, whose first thought — even 
if unconsciously — is for speed. 

But suppose original screen dramas were purchased by the 
producers in the manner in which original plays are bought for 
the stage. John Brown, the original screen dramatist and an 
honest artist, has an idea which he feels would be expressed 
better as a motion picture than through any other medium. He 
proceeds to develop his idea directly in the form of a screen 
play, imbued with his own inspiration, individuality, style and 
treatment. He takes as much time as his artistic conscience de- 
mands. His work completed to his own honest satisfaction, he 
takes it to Mr. Stage-Producer reads a three-act play. If he 
found no merit in Brown's manuscript, he would reject it. Then, 
unless Brown sold it elsewhere, he would be out of luck and 
some six months' labor. Such is the gamble taken by every 
writer for the stage. 

But suppose Mr. Producer accepts Brown's screen drama — 
either as it stands, or with certain changes which Brown would 
himself insert. The author is guaranteed that his scenario will 
be projected exactly as it is written, or as nearly so as technical 
limitations will allow. An initial payment is made to him ac- 
cording to contract — in the world of the stage, this sum is from 
one to two thousand dollars. Mr. Producer then proceeds to 
make the picture, Brown receiving an agreed royalty or a per- 
centage from the profits of the film's sale. Then he has some 
direct share in the success, large or small, of his brain-child. 

The new arrangement will bring about more cordial relations 
and a greater harmony of effort between the writer and the 
director, similar to the relationship of the musical composer and 
his interpreter. The one composes the piece the other renders 
it to the public as it has been written, striving to give in that 
rendition the full and exact meaning and message of the author. 

This may mean our having fewer films — God grant the day — 
but they will be, in time, far better pictures. 




* 7 — 7 



¥3 



Beginning a Scenario 



FTEN the question has been put up to me: "How is a sce- 



nario written?" and frankly I have said, "I don't know." 



^•"^ However, that query has been made so many times that 
I have made an introspective analysis of the situation and found 
certain specific things to be the truth in connection with screen 
writing. 

First, we have what is known as a story thread. In other 
words we map out the treatment we are going to give our story. 
Then the sequences are settled upon and the biggest trick of all 
is to get as much as possible into one sequence. That is the 
real work of continuity writing. So many people know about 
the business of making pictures now that it is just like primer 
to them, but for the few who don't know, after sequences are 
written they are split up into scenes. 

Several years ago when I first started writing it was the ambi- 
tion of every writer, when given a story or play to see how far 
away from the theme we could get. There was a certain pride 
in taking the title of the book or play and eliminating all that 
the poor author had put between the covers. 

Great strides have been made since that time and, of course, 
we realize how silly we were and now try to follow to a letter the 
text of the book we are writing from. If some of it can't be trans- 
ferred to the screen we at least try to stick to the spirit of the 
theme. 





1. Dorothy Farnum 

2. Adrian Johnson 

3. Rosemary Cooper 

7. Olga 



4. Winifred Dunn 

5. Florence Lawrence 

6. Ethel Chaffin 

Printzlau 



388 



^5 



¥9 



Possibilities for the Beginner 

O PROFESSION is as discouraging to the newcomer as 



motion pictures. We worship at the altar of the "recog- 



nized failure." In no branch of the picture industry 
does this hold more true than in the writing of screen stories 
or screen adaptations. 

Today, perhaps more than ever, the film producer is trying 
to break away from the hackneyed story and its hackneyed de- 
velopment. 

In this fact lies the opportunity of the newcomer to break 
into the field of scenario writing. Hitherto, for the unknown 
writer to enter motion picture work was almost an impossibility. 
It required many elements and characteristics which have little 
to do with the quality of writing, such as acquaintanceship among 
the producers, enormous persistence, the elements of chance and 
the ability to convince the responsible people. 

The extreme conservation shown by producers has had a 
certain justification. Changing a story from one form of ex- 
pression into another is a form of gamble and it is not unnatural 
that the picture makers should try to reduce the elements of 
chance wherever possible. The great objective has been to 
produce pictures from books, stage plays and short stories which 
were written by well known authors. These have always been 
purchased in preference to material submitted by unknown per- 
sons. The psychological fact, popularly expressed as "hitching 
your wagon to a star," is responsible. 

It is not impossible, of course, for an unknown to secure ad- 
mittance. It has been done and doubtless it will be done again. 
I believe it is true that all reputable studios give a fair read- 
ing to scenarios which are submitted. The fact that, out of 
more than forty-two thousand scenarios submitted by unknown 
writers to various studios last year, only four were purchased 
will prove how difficult success in this line may prove. In other 
words, the chances are about one to ten thousand. 





Director and Scenarist 
of Paramount Productions 



389 



¥9 



Advice to Amateur Scenarists 

THE one most important injunction to the amateur scenar- 
ist, in my opinion, is to impress upon his mind the im- 
perative requirement of a new angle in story-writing. The 
worthwhile person in any field of endeavor is the one who throws 
off the shackles of convention and does things differently — does 
them better, even though he knows that the world will wag a 
warning finger and exclaim, '''Why trifle with the rules? We 
have done it successfully this way for ages. Why experiment?" 

They said it to Whitney when he invented the cotton gin and 
saved the South — they said it to Fulton when he defied the 
vagaries of the winds by launching the first steamboat on the 
Hudson — they said it to Franklin when he sent a key soaring to 
heaven to bring down to man the secret of the lightning — they 
said it to D. W. Griffith when he cut off the legs of his actors 
to concentrate attention upon their brains. They are still saying 
it in the picture industry where the inevitable answer to the uni- 
versal accusation of stagnation is, "Be patient! This year we 
will make them BIGGER and BETTER." 

DON'T try to write screen stories at all unless the urge within 
you is so strong that you are prepared to starve, steal, dishonor 
your parents, and break all the other eight commandments for 
the simple satisfaction of seeing the child of your brain depicted 
upon the silver sheet before your eyes. Having committed all 
these sins, and having at last reached your goal — 

DON'T expect to recognize the infant when you do see it. 
You may be its mother, or its father, or both ; but it will bear no 
family resemblance to either parent. Be forewarned! 

DON'T expect to receive a fabulous amount for the mere ex- 
position of a fragmentary idea, handled in the same old way. 
It's the new treatment of the old idea which brings home the 
bacon to an author. There is nothing really new under the sun — 
but there are a lot of things we don't know about yet. or haven't 
tried. 

Remember that, in telling a story, you are appealing to 
instinctive emotions. So give wing to your imagination and 
let it soar. 

390 



Task of the Scenario Writer 

THREE persons witness an accident. They relate it to their 
friends. One tells it bluntly, beginning with the crash and 
working backward. The second tells it in ten words, un- 
emotionally, casually. The third tells it in continuity, with a dra- 
matic suspense leading up to the crash itself. 

Of these, the third comes nearest to what is sometimes erro- 
neously called a "born scenario writer" and the other two are 
hopeless. 

There is no such animal as a "born scenario writer." Scenario 
writing is the development by study of innate dramatic apprecia- 
tion. Not all persons, by any means, have the ability to feel dra- 
matic situations, and only a percentage of these are able to 
express them in scenario form. A diploma from a scenario school 
is no guarantee that the graduate is a scenario writer. 

The task of the scenario writer in this day of the history of 
motion pictures is the creation of a new art — the telling of stories 
in pictures. 

We have been prone to accept the standards of the old school 
rather than to create something new. We have told stories in 
pictures with elaborate and lengthy subtitles. Now we are work- 
ing around to the point where a picture must be complete in 
itself where, in other words, the picture itself will tell the story. 
There is a picture synonymous with every word. Usually the 
picture is more forceful; it is always equally expressive. Our 
task is to find the picture. 

The motion picture of the coming day is a picture that will 
not require a printed word from beginning to end and will be 
complete, concise, dramatic and entertaining. That day is not 
far distant. 

Paramount Supervising Editor 



391 



The Secret of Good Pictures 




YMBOLIZE words! That is my answer to the question 
raised by young writers on how good scenarios are 
written. 



The secret in good pictures is to be found in the perfect sub- 
stitution of symbols for words. The spoken word is the property 
of the stage play; even the written word has very little place 
in the photoplay. But in the place of these words we must 
have pictorial symbols. 

Substituting symbols for words is a tremendously difficult 
task— one that requires imagination coupled with a dogged per- 
sistence that refuses to admit failure. 

Sub-titles — the use of the written word — are reduced to a 
minimum. In their place are symbolic pictures. 

The photoplay is primarily pictorial and dramatic. In the 
past all too many pictures have been made without regard to 
these essentials. Many screen stories were, and still are, told in 
narrative form. By the general use of the written word the 
task of placing this narrative on the screen has been simplified a 
thousand fold. 

The really dramatic photoplay focuses down to almost 
as few episodes as a stage play contains acts. In the ideal 
photoplay each sequence of the story is an act. But to achieve 
this perfect form requires a thorough knowledge of drama and 
the generous use of symbols. 

If a play is big enough to succeed on the stage, we keep the 
quality that made it a success in adapting it to the screen and 
change it only as much as screen technique requires. When we 
select a story for picturization we have in mind its dramatic 
value, of course, but we do not neglect the pictorial quality. Un- 
less it lends itself to pictorial telling we do not attempt to pic- 
turize it. 

Scenarist for Wm. De Mille 



392 



Is Scenario Writing a Gift, or Developed 

I KNOW only my own way of development; how I started 
writing stories for the little magazines, then grew to writ- 
ing originals for cheap releases. Now I feel at last as if I 
am to have the reward of real artistic endeavor, such as was 
"Beau Brummel" and will be "Babbitt." But no one can say 
whether a scenarist is born or that one can be trained. Industry 
often breeds talent. The fates sometimes give you a power at 
one time in your life, that they withhold at another. It is an 
absolute mystery. 

Scenarists are nothing but the stokers of a ship, necessary, 
but condemned to the hold of obscurity. But we do work so 
the stars and directors will have a nice time on deck. 

A scenarist must have knowledge of literature, then throw it 
away for knowledge of life. She must feel what is screenable, 
as a great artist knows intuitively that certain people are not 
paintable. 

We work with words and without them. W T hat we really 
do is to transmute thoughts into pantomime. More and more 
screen acting is to plant the idea with the face, and language 
will be used less and less. 

Knowledge of human nature in all forms is our first require- 
ment. When I was doing "Beau Brummel," I really built the 
character from the record of his talk. Took a witty saying ; de- 
cided what phase of his personality was expressed by that, and 
then put an incident on the screen that painted just that quality 
of his nature. 

I have often asked myself this question. With our long 
struggle for success, are we ever to have a permanent place in 
literature — live as do the great poets and novelists, or are we 
just to be the stokers with no right to remembrance. 




393 




394 



Opportunity Scenario Writing Affords 

HE great inducement about writing scenarios is the two- 



fold opportunity it affords. In the first place, there is 



the artistic possibility which is always the greatest pos- 
sible stimulus to the imaginative mind and which makes any 
work of creation worth while for itself. Secondly, there is the 
financial reward which can be secured by the successful writer 
for motion pictures to an extent that makes this profession one 
of the most lucrative branches of authorship. This financial 
aspect is important, not only for itself — and we live today in a 
world where monetary considerations are always important — but 
also for the moral as well as the economic independence for which 
women and men are striving in every walk of life. Of course, 
we know that many of the greatest artists have given the world 
their masterpieces while they were suffering from financial 
troubles or even actual want; but it is just as true that it is only 
when the creative artist is financially independent, or compara- 
tively so, that he can afford to pick his work, and in such wise 
give his time and effort to that which will achieve the highest 
artistic effect. 

Scenario writing is perhaps the most typical American form 
of authorship, sharing this honor with the short story. This is 
so because of the quick rise of the motion picture and the phe- 
nomenally rapid strides it has made towards an art instead of 
the curious novelty it was at birth, and the excessive industrial- 
ism which threatened to stifle it a few years ago. 

He is the most basically democratic artist in the world's 
history! For every other art enjoyed, at least for the first 
century or so after its inception, a form of subsidy by the 
economic and political princes of the day. 

The one great need for the screen author is the ability to 
visualize what he has learned in the school of life — what he sees 
about him, and what he can gather from the universality of 
sources which constitutes the gold mine wherefrom he can dig 
up innumerable nuggets. Everything is grist to the scenario 
writer's mill. No other art draws so extensively upon every 
sister art, every science and every other form of knowledge, as 
well as intimately revealing life of the past, of the present, and 
even, to a smaller extent, of the future. 




395 



396 



THE TRUTH ABOUT THE MOVIES 



The best school of all for the beginner is actual studio 
work. This was possible only in the earlier days of the motion 
picture industry, and that is why so many of the scenarists who 
are successful today have been here for a long time. It is hardly 
possible for even a small percentage of the amateur screen 
authors to enjoy actual studio work under existing conditions — 
for them, the best school is the study of many pictures from a 
technical standpoint, and of the printed word, so that they can 
write better English. Nowhere else as in this field of writing is 
it so necessary for the beginner to show his dogged determina- 
tion — for the great investment with which the producer must 
back his judgment in selecting a story makes it automatically 
more difficult for the beginning scenario writer than for the 
novice short-story writer or novelist. 

The one word of practical advice to the beginner which we 
would offer is expressed because of the realization that his 
greatest difficulty is to sell his story this word of advice is to 
"plant a big kick," in the language of the studios, in his first 
paragraph or at least on his first page — something which will 
electrify the reader so that he will see at once that this particular 
script is above the ordinary, and therefore worth his jaded 
attention. 

Despite the trend of most of the other literature of the 
present day, the screen is not looking for excessive realism. If 
is, so to speak, the last stronghold of romance; and this should 
be kept well in mind by the beginning author. He has a greater 
chance than ever at the present time, because more and more 
the biggest producers and directors have come to the realization 
that the best film vehicles are those which are written directly 
for this particular form of expression. Furthermore, the wave 
of excessive expenditure on sets and props is now past, to a large 
extent; and the films are ready to "say it with acting." Herein 
is the writer's greatest opportunity. 




^9 



An Essential of Writing 



EPTH rather than width of knowledge and experience is 



an essential for any writer. Of recent years a number 



— of persons have joined the writing ranks whose own 
experiences have been very wild and hectic. Globe-trotters, ship 
engineers, men in prison — there has been no end to the stories 
which have poured forth from these "realistic" sources, as they 
are called. 

The impression, therefore, has gone the rounds that in order 
to write successfully it is necessary to have a wide variety of 
personal experiences. With due regard to the very splendid 
writers of the realistic school let me state that is not at all the 
case. 

No experience is of value unless it has "sunk in." Some of 
the greatest writers have developed in very restricted environ- 
ments — and yet they lived to the full what little of life they were 
permitted to touch. 

Jane Austen never stirred from a small country parish. Mary 
Wilkins was a small country dress-maker. Charlotte Bronte, 
with a drunken husband and a dipsomaniac brother, found all the 
emotional experience she could possibly need right within her 
own small family. 

Many writers have developed through sheer ability to interpret 
in imagination the books they have read. 



The perfect type is a girl who can be photographed from any 
angle without having to worry with the lights to obliterate 
facial discrepancies. A girl who is five feet, or a trifle over, is 
the best height. Tall girls find it harder to break in than 
medium-sized ones. 





397 




MOVIE STARS' HOMES 

Charles Ray 5. Pauline Frederick 9. Conrad Nagel 

King Vidor 6. Nazimova 10. Warren Kerrigan 

Thos. H. Tnce 7. Rupert Hughes 11. Will Rogers 

Forest Stanley 8. Constance Talmadge 



398 



^§5 ~ ¥5 



Film Editor Axman as Well as Jud^e 

A FILM editor's sanctum is the court of last appeal in the 
motion picture industry. The film editor is axman as 
well as judge. Upon his shoulder falls the responsibility 
of the success of the photodrama. 

A resume of the duties of a film editor would carry the reader 
through the entire labyrinth of the complex business of making 
pictures. When a director finishes a picture, and feels content 
that the artistry of the star and the co-operation of the players 
has made it a success, he invokes the aid of the film editor to 
reduce the picture to proper length and to guarantee its success 
on the screen. 

There are two ways of editing a picture; with the head, or 
with the hands, and I even go so far as to say that in one case 
you have an editor, and in the other a mere mechanical "cutter." 

I pass up the cutters. They are a legion, and do more harm 
than good to the profession. But a real film editor has probably 
more to do with the success of a picture than any other one man 
with the possible exception of the director himself. 

The chief requisites of a film editor are a wonderful imagi- 
nation, and a real understanding of human nature and human 
emotions. His forte is to know these emotions and how to play 
on them; to judge whether at this point and that, through his 
story, the best effect is to be gained through playing on suspense, 
surprise, sympathy or desire. 

It is for the film editor to decide whether the picture will 
"go better" if the audience is "let in" on certain points of the 
plot, or are kept in the dark up to the certain point where the 
denoument comes as a decided shock or surprise. 

Too much of this or that will cause a drag; too little may 
result in a sense of disappointment or prevent the point to be 
made from "getting over." And these are only a few of the 
things, all requiring real brains, that make up a film editor's 
duties. 



399 






1. Harold Lloyd 

2. Mary Pickford 

3. Tom Mix 

4. Milton Sills 



MOVIE STARS' HOMES 

5. Abraham Lehr 

6. Norma Talmadge 

7. Aileen Pringle 

8. Sam Woods 



9. Viola Dana 

10. Noah Beery 

1 1. Syd Chaplin 



400 



¥3 



Environment and Home Atmosphere 
of Picture People 

ROM the shores of artistic Europe, from the fartherest 



stretches of the North, from the sunny, almost fatal beauty 



■ of Southern Italy, one may come to Hollywood and find 
still more beauty. And, upon the hills and amidst the waving 
palms and a sunshine that beckons and attracts as does a mag- 
net, one may find homes, many of them, half concealed, half re- 
vealed; homes, the beauty of which cannot be equalled the 
world over. For each home here is, apparently, built in an indi- 
vidual style that is attractive beyond words and the architects 
must have taken the buildings of the world and reconstructed 
them and built a beauty of their own, an imaginative style of 
architecture and finish and conception that is individual beyond 
expression. 

Some of the most beautiful homes of Hollywood belong to the 
artists who have entertained the world. Naturally, the interiors 
of these homes are expressions of individual character. A home 
should always be an individual expression and, quite naturally, 
persons who live in a world of drama and emotion, must have 
about them those beautiful things which suggest thought, bring 
ideas and give rest and relaxation, at the same time. It would be 
quite useless to describe furniture and things of that sort. What 
I wish to dwell upon, briefly, is the spirit, the individuality, the 
beauty of expression which was the inspiration of these homes. 

Outside of Hollywood, a short distance, there is an English 
estate, whose cultivated gardens, whose long stretches of land- 
scaped beauty, excells anything I have seen in the Old World. 
Then again, there is another home, whose plainness of white 
beauty, unspotted and untouched, suggests the very soul of the 
Acropolis at Athens, transplanted to a new world, yet retaining 
all the age old beauty which formed a part of the universal civili- 
zation and knowledge. There is yet another home, half hidden 
away in a bower, which you approach by winding pathways, 
walking towards something which bursts upon you like the motif 
of a fairy tale; a beautiful little architectural gem hidden away 
from the noises and confusion of a modern world, a place where 
a girl dreams the dramatic dreams which have made her famous. 




401 




1-2-3— INTERIORS OF STARS - HOMES 



402 



THE TRUTH ABOUT THE MOVIES 



403 



And there are Colonial homes, made beautiful with the magic 
touch of the Southland. And there are Spanish homes, done in 
strange bright colors, which remind one of the brilliance of the 
colors which Rembrandt used and which was a secret, until the 
sunshine of Hollywood and the magic touch of dreams brought 
them to light once more. And there are homes such as one may 
see at Versailles, where the French kings acted out their last 
monarchial drama. And, yet again, there are homes such as one 
may see bathed in the sunshine of Naples, flower covered and 
breathing an enchantment of view which Hollywood has caught 
and given an eternal expression. 

Here, in brilliant panorama, one may see the architecture of 
the world, only it has been given a new expression. And here, 
also, one may see absolute individuality of expression brought 
to life and made eternal also. 

And what do the interiors of these homes bring to mind ? Let 
him who has imagination read. These homes represent the life 
dreams of men and women who are artists, not only in their own 
line — motion pictures — but who have expressed, in some form 
or another, every allied and kindred art. Here one finds paint- 
ings done by those who make painting a hobby, seeking con- 
stantly to express life on canvas even as they do in drama. Here 
one finds copies of the Old Masters done by the New Masters of 
Hollywood, in which the spirit of those Old Masters has been 
caught and a new eternality added to them. Here one sees sculp- 
tured figures, chiselled from marble brought from Carrara, so 
that the idea of the sculptor may live — in the art of Hollywood. 
And yet again, one sees etchings endowed with the new art 
and yet partaking of the old, etchings developed and executed 
under the inspiration of the new art of Hollywood. 

In the homes of cinema artists of Hollywood one may walk, 
soft footed and admiringly, through the art of the world and 
learn more strange things of those who, perhaps, may conceal 
their artistic hobby from the world, saving it only for them- 
selves and that something must be kindred art, because, in no 
other way can these men and women find their true expres- 
sion. 

Then again, you may find some beautiful, dark-eyed girl who 
has delighted her millions on the screen, tucked away in her 
Spanish home, surrounded by those bright, warm colors which 
one may see in Old Seville. Perhaps, she may thrum a guitar 
which once told the story of an immortal love played out under 




, Edwin Bower Hcsser 

DOROTHY PHILLIPS 



404 



THE TRUTH ABOUT THE MOVIES 



405 



the sunny skies of Spain. Perhaps, her eyes may flash, her pose 
grow languid, as she plays some forgotten melody and listens 
to the approach of her lover, the matador, who has that day 
bowed before his admiring thousands in triumph. 

And yet again, one may walk through the bazaars of the East, 
made soft by subdued lamps and glowing colors and, if one had 
color in his soul and imagination, he may hear the soft footfalls 
which echo in the desert, human ships that pass in the night on 
modern era. 

There is art here, the art of a world. There is beauty here, 
beauty severe and Northern, beauty warm and colorful. And 
this beauty has been created by those who feel the impulse of 
creation, those who have expressed themselves in the art, the 
love, the temperament, the achievement of many lifetimes, that 
you may be entertained. If you are a lover of art and can under- 
stand the soul of a man or woman who creates, then some day you 
have a rare treat in store for you. Perhaps, by a stroke of good 
fortune or destiny, the beauty of these homes may be thrown 
open to you, because, in Hollywood, there are no secrets, save 
for those curious persons who come simply to have food for 
conversation. Some day, like myself, you may walk through 
many worlds, led by the men and women who have created these 
worlds within four walls — for themselves and their friends ; men 
and women who love to show you their achievements provided 
you can understand — and appreciate, something which, in this 
some mysterious errand. 

In Hollywood there are as many fanciful and beautiful worlds 
as there are personalities, which have created these worlds and, 
if you have Aladdin's Lamp, the door is always open. 





1. Mr. and Mrs. Bryant Washburn and family 

2. Conrad Nagel and daughter 
5. Jack Holt's Family 

4. Mrs. Buster Keaton and baby 



5. Claire Windsor and son 

6. The Coogan family 

7. Mrs. Coogan and Jack Jr. 

S. Mr. and Mrs. Tom Mix and baby 



406 



^§5 



^9 



Can Married People Work in Pictures 

HE fierce glare of publicity which shines upon persons in 



the motion picture world often leads the layman to errone- 



ous opinions about their personal lives. Even though the 
public is coming to appreciate the fact that the majority of film 
folks are hard-working and home-loving people, this same public 
does not yet appreciate how many cases there are in Hollywood 
of happily married couples, both of whom are working in the pic- 
tures. "Professional jealousy" is supposed to be a common at- 
tribute of all actors, but as a matter of fact — although it rears 
its green-eyed head here and there, as in all walks of life — the 
actor's usual reaction toward his fellow player is one of con- 
crete help and assistance rather than jealousy and distrust. 
It is too commonly supposed that happiness is automatically for- 
bidden to a married couple, both of whom are working in the 
films. 

This is not so; there are scores of cases in Hollywood where 
the direct opposite is true. It would be a long list indeed which 
would contain the names of all the men and women — many 
of them blessed with children — who share not only domestic 
but also professional relations. What used to be called "tem- 
perament" among professional people has largely died out, es- 
pecially in the picture world. The regular mode of living forced 
upon us by our work as well as our own desires, is not conducive 
to "temperament." And just as in the outside world, where 
more and more married couples are both earning their own livli- 
hood or contributing jointly to the family coffers — so in the film 
field ; there are literally hundreds of happy examples of the same 
joint activity. There are quite a number of cases of stars who 
are directed or managed by their husbands, or both; and there 
are scores of other cases where the wife and husband are 
both actors — sometimes perhaps playing in the same company — 
but more often in different companies and even in different 
studios. There are many instances where the woman is 
gradually working her way up as an actress and the husband 
is a c'nematographer, a technical director, a designer, a prop- 
erty man or active in some other one of the numerous depart- 
ments of motion picture making. 




407 




Gene Kornman 

HAROLD LLOYD 



408 



THE TRUTH ABOUT THE MOVIES 



409 



Modern civilization has developed numerous inventions 
which have done away with practically all of the tedious manual 
labor and other chores which formerly occupied so much of 
a woman's time in the conduct of her household. 

The active married woman who does not absorb herself in 
some activity, therefore, often finds herself with much time 
hanging on her hands and unless she can occupy that time 
with something worth while, trouble is bound to result. In the 
motion picture world, where their work is the sole subject of 
converse and study during their every waking moment, how 
much finer it is when the husband and wife can have a com- 
mon subject of interest — something to talk over with each other 
after the day's work is done and something in common on which 
they can help each other definitely and inspirationally ! That 
is how it works out in Hollywood; and that is why so many 
couples both of whom are active in the making of pictures, 
find great happiness in the unity of their professional as well 
as their personal interests. 

Emphatically — it is possible for married people to keep on 
working in the films and to be very happy while they do it. 
In fact, it is more than possible — it is the usual state of affairs 
in Hollywood homes! 




* * >p 



To the potential student of any of the numerous schools of 
make-up C. B. de Mille gives but one word of advice: "Don't." 
The man who has made as many screen successes, probably, as 
any other one individual working for the screen, says that all 
the novice needs to know about make-up may be learned in half 
an hour before making his or her first appearance in a picture. 
The other knowledge may be acquired, he says, bit by bit, as the 
player advances. 






FAMOUS COMEDIANS 
. „ 1- Will Rogers and Chas. Chase Parrott 

2. Buster Reaton 5. Clyde Cook 8. Snub Pollard 

3. James Finlayson 6. Neal Burns 9. Bobby Vernon 

4. Johnny Hines 7. Jimmie Adams 10. Bert Roach 



410 



Comedy Development 




OMEDY development unquestionably has been one of the 
outstanding features in the progress of the motion picture 
during the past few years. 



What the next couple of years holds for the comedy is vir- 
tually impossible to foretell. 

We do look for a continued development along the line of 
story, however, which probably will be the main boulevard of 
advance for this particular branch of production activity. 

It has been our observation that in any audience there are 
a certain number of persons who will demand the slapstick type 
of comedy. There always will be a great number of devotees 
of this element of fun making. But audiences undoubtedly are 
appreciating more than ever the comedy which has a fairly well 
defined plot, with action that is not as rough as the old slap- 
stick, and still not too genteel, which is about the best way I 
know to express it. 

As for our own plans, it is our intention to mix up the 
type of offering we will present. That has been our policy in 
the past, and it has worked out highly satisfactorily. To de- 
velop a certain type of comedy, and to stick to that without 
ever changing the variety, is to invite trouble in production. 
For no matter how great the appeal of a player, he cannot go 
on forever giving his public the same kind of picture, release after 
release. 

There must be suspense, or perhaps anticipation is a better 
expression, in comedy as well as in the drama. We have noted, 
however, that audiences are drawing closer to an appreciation 
of comedy wherein the gags are mingled with story than in just 
straight gag comedies — pictures built entirely for laughs. 

Natural gags — laughs that are obtained in legitimate situa- 
tions and by legitimate means — are always more appreciated 
by audiences than are incidents thrown in purely for a laugh. 
Not that the audience will not laugh at a forced situation, 
but you obtain a more wholesome, and frequently a more sus- 
tained, laugh through the natural gag in a legitimate situation. 




411 



Must Drama Have Humor 

HUMANS cannot stand the strain of long and tragic periods 
without breaking and that applies even to the strongest 
of us. Therefore, in tragedy, humor is necessary. 
Strange to say, humans cannot stand a long strain of laughing, 
therefore, tragedy is necessary. It seems to me that dramatic 
representations of life are made up of, say, three parts of serious 
effort and one part of humorous effort and then we have an 
ideal balance. Humor, be it known, is much more difficult to 
find than tragedy. Humor is one of those rare gifts which 
lighten the fairly sombre pattern of Life. Humorists have 
been loved since the beginning of time. In fact, it is through 
humor, that life's greatest lessons can be taught because we 
haven't had intelligence enough to learn it before. Humor 
teaches us to laugh and smile at things which, otherwise, might 
work a disastrous injury in our lives. Whether you smile in- 
ternally or externally, smile. Laugh when you can. Some 
people make a habit of practicing it regularly. It then becomes 
second nature. I have never attempted to direct a dramatic 
offering without a trend of humor. Such an offering would 
take on the ghastly morbidity of a Continental dramatic effort 
and there is sufficient sadness in Life now, without seeking, 
deliberately, to accentuate it. 



A motion picture career is one of the hardest I know. It will 
test you as fire tests tempered steel. All honor to those who 
successfully pass the test. 




412 



^9 



¥5 



The Human Value of Comedy 

IN looking at pictures, and in making pictures, I think that we 
sometimes overlook the chief reason why there are moving 
pictures. And that is the desire in every human heart for 
entertainment. Entertainment, pure and simple. Of course., 
there is the educational value of pictures, but, even in this, very 
often the educational value comes, not in pictures which are 
labeled "Educational," such as how wallpaper is manufactured, 
but in certain points in the pictures which are made solely for 
the purposes of entertaining. 

That is where the comedy people come in. The first moving 
pictures made were comedies of the rough and tumble variety. 
And in setting up our idols in the world of the screen, I think we 
are inclined to overlook due credit for the people who cause the 
smiles, the chuckles and the hearty laughs. The circus clown 
usually dies unhonored and unsung, and very likely many of our 
comedians who are leaping about on the screen today will achieve 
little lasting recognition for having made millions laugh. 

I would rather direct a little picture which is pure entertain- 
ment — which makes no pretences of being in earnest or of telling 
a great story, or pointing a great moral — but which will take 
people's minds off their troubles for twenty minutes, than to 
create the world's biggest super-super-special. That's why I 
quit making so-called feature pictures seven years ago and joined 
"comics." 




413 




F. W. Seelv 

LOUISE FAZENDA 



414 



¥5 



Being a Comedienne 



IT'S customary to write nonsense about a comedienne. But 
the work to get the laugh, is harder than the effort to get 
the tear. 

I got what success I have by sheer concentration. For five 
years I toiled in obscurity, as patiently as any clerk over a 
ledger; was just a bathing girl at Mack Sennett's. Then I 
planned in my own mind the gingham dress, the pig-tails and the 
square-toed shoes, and the comedy that went with it. In a way, 
it's just as a man builds a house. Of course you modify it as 
you go along, but what I want to stress is that comedy is made 
from the gray matter of the brain, and it's much harder than 
it looks. 

Of course, I love to make people laugh. The world needs sun- 
shine, a whole lot of it. Folks come to the motion picture theatre 
to escape life. The Russians call the movies "illusions." And 
if you can spread before their eyes the vision of a happier lot 
than is theirs in reality, and make them live it with you, then 
you are helping humanity and it makes you feel "good," as the 
children say. 

My life, apart from my work, has been a very serious one for 
a fun-maker. When I'm through at the studio, I go home, curl 
up in a chair with a book. I love to read anything from Rus- 
sian realists to recipes. 

My entrance into the picture world was quite prosaic. I 
was studying to be a teacher, when a girl living in the apartment 
next to ours, suggested that I go out and see a casting director 
with her. It was Christmas time. I thought then of only the 
extra Christmas presents the work as an extra would buy. 

But after the holidays I still continued to need money and so 
went on working in insignificant parts. Then I grew to love 
the work itself. Probably at that moment my ambition was 
born. 

I am often asked if I would not like to play great tragic parts. 
If they came my way I would be grateful, but since I have found 
my little niche, I am quite content to go on giving pleasure. 




415 



¥9 



Comedy Characterization 

IT IS only in characterization of the highest order that the 
comedian fulfills his true artistic mission. For, after all, 
the comedian is far removed from and vastly superior to the 
clown. The clown works with effects — or, what are termed in 
motion picture circles, gag situations; the true comedian builds 
up a characterization that reaches the highest point of artistry 
in its reality and convincingness, that works upon the heart- 
strings of his audience as well as upon their risibilities and by 
dexterously alternating these emotional reactions, leaves in their 
souls a warm glow of happiness. This is, of course, the ultimate 
aim, the highest purpose, of all entertainment. 

Anybody who has studied stage drama and motion pictures 
realizes very soon that the tragic and the humdrum are easiest 
of interpretation by the actor as well as the author. It is the 
subtlety of the comedian which stamps him the polished artist. 

The difference between the clown and the comedian is the 
difference between the cartoonist and the caricaturist. The car- 
toonist evolves impossible characters and places them in impos- 
sible situations, appealing to the audience's sense of the ridicu- 
lous for his laugh. It is part of the same technique as is re- 
vealed in the clown's grotesque make-up and the loud, resound- 
ing blows of the inflated bladders with which the circus funsters 
strike each other resoundingly. The caricaturist is far subtler. 
For instance, he draws a picture of a certain celebrity which is a 
perfect likeness, except perhaps in regard to one feature — and 
that is accentuated beyond the normal. It is by the contrast be- 
tween the normalcy of the general delineation, and the impres- 
sion of the exaggeration of the one feature which accomplishes 
his purpose. 

So the true comedian devises a characterization wherein the 
personage is absolutely normal in every regard save one : It may 
be a little trick of make-up of one feature — or a peculiar exag- 
geration of one part of an otherwise normal costume — or the 
accentuation of a particular mannerism which is fairly common 
to many people. By throwing the high-light of his artistry on 
this one outstanding effect, he brings his audience to a recogni- 
tion of this trait in their own circle of acquaintance, and thus 
humanizes his characterization. Most effective, too, is the tech- 

416 



THE TRUTH ABOUT THE MOVIES 



417 



nique whereby the comedian first wins the tears of his audience 
in sympathy over the difficulties in which he is enmeshed and 
then dexterously turns these tears to smiles by the manner in 
which he extricates himself from these various difficulties. 
Charlie Chaplin is a classic example of this method in the films ; 
it is the same effect which we secure in the "Potash and Perl- 
mutter" stories, both on the stage and in the films, with which 
I have been associated. 

In short, it is in a caricature characterization that the true 
comedian finds the highest expression of his art. To achieve 
this, he must study human beings the world over and in every 
station of life; learn to depict them faithfully, selecting from 
their traits and characteristics that particular one for each in- 
dividual which makes him subject for the caricature. It is for 
this reason that the great comedians are truly the great actors. 




Should a Comedy Villain Be Funny 

MANY times in comedy pictures the villain seems to be 
very cruel to everyone, even to the ladies. In some 
cases you have to be cruel to be kind. When a villain 
in comedies is at his meanest, the comedian or the funny man, 
by some means, makes him lose his poise and dignity and the 
more ridiculous he looks the funnier the situation. Usually In 
comedies the villain is at the receiving end — that is, he is the 
recipient of all the hard blows, falls and many other misfor- 
tunes. And sometimes I wonder why the mean, revengeful 
looks portrayed on the screen don't stay there for all times as 
I always seem to be nursing bruises. However, one must for- 
get his screen character and while not in the pictures enjoy 
his leisure time trying to make others happy. 

My advice to those aspiring to be a comedy villain is to try 
and obtain the physique of a blacksmith, the patience of Job, and 
the dignity of a tragedian. 

A comedy villain should not try to be funny, but should have 
a comedy vein to put over comedy situations. 



^9 ¥5 



Comedy Production 

IT IS the custom for the public to pass a very light and hasty 
judgment upon the comedy, not quite realizing the energy, 
the difficulty and the general obstacles which seem to be a 
part of comedy production. In fact, were I to say that the 
thought and preparation necessary to produce even a success- 
ful one-reel comedy is much greater than that used in prepara- 
tion and production of a five-reel drama, the public would be 
inclined to doubt me. Yet these are facts. For instance, in 
a one-reel comedy it is difficult, I might even say, impossible to 
employ more than three characters. Almost before a one-reel 
comedy has begun it is over and in that limited space the 
comedy director must tell a story, plant his characters and set- 
tings and, never for a moment, can he let up on the rapidity 
and interest of his action. Comparisons between comedy and 
drama are interesting. The day has come when the mechan- 
ical ''gags" in comedy have become silly. They have been 
done and overdone. The day has come when comedy must tell 
a story of some kind, consecutive and connected and, as I have 
said, within an extremely limited space of footage. And the 
energy, concentration and hard work necessary to accomplish 
this always difficult feat are very great, indeed. 

The five-reel dramatic story usually contains, when taken, 
say from seven to eight hundred scenes and, in a one-reel com- 
edy, there are, sometimes, as high as three hundred scenes or 
nearly half the entire scenes of a five-reel drama. And yet, be- 
cause of certain ethics surrounding comedy production, these 
scenes are oftentimes taken in a week and even less time, re- 
quiring a day and night rush, a constant and continuous effort 
which dramatic directors know nothing about. For instance 
you have a clever point to get over in a comedy. It may be 
the "punch" of your story- It must be gotten over in a flash, 
say seven or eight feet, because in the final footage that is all 
the space you can take. 

The sub-title in comedy is another interesting consideration. 
Nothing must ever stop the continuous, lightning action of a 
comedy, else it falls flat. Yet the story must, in certain essen- 
tial places, be explained by reading matter. You can, therefore, 
never use a sub-title in comedy except where it is absolutely 

418 



THE TRUTH ABOUT THE MOVIES 



419 



indispensable. All the titles a one-reel comedy can stand is 
twelve or thirteen, including the main and credit titles ; there- 
fore, the painstaking effort to select the really vital places which 
must be explained in a one-reel comedy, can readily be under- 
stood. 

It is also a fact that, in one-reel and even two-reel comedy, 
the director has very little assistance. He must usually work 
in the story himself, furnish his own story, give the general 
sense of the very few sub-titles he is allowed to use and, in all 
cases, he must illustrate to his actors the motive of the comedy 
and how to portray it. He cannot engage expensive talent in a 
one-reeler, because it is absolutely vital that he must confine 
himself within a limited sum for production. The director fig- 
ures out his picture. Then he has to figure, down to finality, 
just how many people he can use within the sum to be ex- 
pended. In many cases, the director finds he cannot put up 
any sets and he has to go about "wildcatting" sets which al- 
ready have been put up, with the result that sometimes in the 
middle of his production he has to change the story to con- 
form to a certain already built set that he is instructed to use. 

Everyone connected with a comedy outfit must act from the 
property man up to the director. For over two years, I had an 
assistant — Bob Evans — who also played important parts in ev- 
ery picture. The reason for this drastic economy in comedy 
is that the comedy picture can only realize so much return. 
As we all know, it is used as a filler or a trailer or whatever 
subsidiary position on the programme it may occupy. 

It is a strange fact that, almost in every instance where the 
comedy director has been given an opportunity to make dramas, 
he has succeeded, whereas the dramatic director has seldom, if 
ever, made a successful comedy. Comedy is a line by itself. 
The dramatic editor usually considers comedy silly and does not 
think any thought could possibly be expended. It is also a 
strange fact that every comedy actor, even of the slap stick 
variety, who has gone into drama has "made good," and the 
same thing which applies to the comedy director, will be seen, 
applies also to the comedy actor. Unquestionably, if the dra- 
matic actor essayed a comedy role, he would, in all probability, 
meet the same fate as the dramatic director. I think this is 
the result of the fact that, in both cases, comedy is looked upon 
as an undignified department of dramatic art and, therefore, un- 
worthy of serious consideration. 




420 



THE TRUTH ABOUT THE MOVIES 



421 



The comedy director seems to be always in demand. They 
practically never have a lay off. The dramatic editor, on the 
contrary, expends long periods of time waiting between pictures, 
and, it is a fact, that, were the salaries of the two branches of 
directors compared at the end of the year, it might be found 
that, although the comedy director receives considerably less 
salary, because of his continuous activities, his earning power 
averages much better than that of the dramatic director at the 
end of the year. I have said that the earning capacity of the 
comedy is much less than that of the drama, which is the reason 
for the smaller salaries received by comedy directors. 

The nearest approach to comedy in the drama is what is 
known as the comedy-drama which is usually produced with 
the regular dramatic tempo, which results in a sustained interest 
for as long as five reels. But it is difficult to sustain laughter 
for five reels without a break ; in fact, save in the case of "Tillie's 
Punctured Romance," the famous old Keystone comedy of years 
ago, it has been found to be impossible. 



Comedy Work Is Most Exacting 

IT HAS often been asked why girls from the comedy studios 
are usually selected when a search for new girls is made by 
the companies which are producing feature pictures. I be- 
lieve a girl can get more real training and experience for any kind 
of picture work by several months of playing in comedies than 
she could by the corresponding number of years in dramatic pic- 
tures. 

In comedy — especially in situation farce of the kind which 
the Christie studios have been making — the tempo is faster than 
in feature pictures. Whatever one is trying to put over must be 
done in much fewer scenes. There is little room for the develop- 
ing of a character or the fine working out of a situation. The 
actor learns from skillful comedy directors how to make every 
move count. 

I am most grateful to Al Christie for what he and his splendid 
staff of directors have taught me. 






1. Noah Beery 

2. George Landy 

3. Gibson Gowland 



4. Sam De Grasse 

5. Eric Wayne 

6. Rob Wagner 



422 



^9 



A Sketch 



HE EDITOR has asked me to write twelve hundred words 



about — myself! Will I do it? Why, the delicious oppor- 



tunity causes me to shake like an eager aspen leaf. And 
I assure you, gentle — or rough — reader, that the words used will 
be most pleasant, for really I am one heluvafella. If you don't 
believe it, read what follows. 

But there go a lot of precious words I ought to be using about 
myself, so let me get to my happy task of celebrating Me. 

Nobody could have been born more propitiously than our 
hero, for I made my biologic bow — that is, if seven pound babies 
bow — in the same place and under the same astrologic conditions 
that produced Henry Ford. But whereas Henry spent his youth 
fussing around with spark plugs and bad smells I dashed off to 
the University of Michigan in search of higher culture and al- 
coholic adventures. The difference in results obtained by Henry 
and Me has no doubt given Henry his low estimate of college life. 
His estimate, no doubt, is shared by others. 

However, you can't keep a good man down, and so, despite 
my cultural handicaps, I cast out my T-squares and compasses, 
voted myself fairly dry, and espoused the timid virgin, Art, who 
seemed perfectly willing to be my bride on $12.00 a week — the 
wage crowded upon me by the Detroit Free Press for drawing 
pictures of corset ads and murder ladies. 

These were the days of the Chipmunk magazines, and I, 
being one of the young artistic rebels, helped utter a tempestu- 
ous little brochure called The Clark Book. This came to the atten- 
tion of one Percival Pollard who wrote and dared me to come to 
New York. I took the dare. 

Arriving in the "great metrollupus" I landed right on the 
cover of a weekly magazine, "The Criticism." That is, I made 
the pictures — in black and red — that were intended to intrigue 
the eye to the newstand. 

Now it so happened that this same magazine harbored an- 
other embryonic "movie notable" — a young fellow by the name of 
Rupert Hughes. Rupe and Rob, having similar shaped heads, be- 
came great friends and when the New York Journal declared war 
on Spain they filled up with patriotism and high purpose and 
joined the 7th Reg., N. Y. N. G., and had the ultimate distinction 




423 



424 



THE TRUTH ABOUT THE MOVIES 



of belonging to the only regiment of "1000 cowards" in the 
United States. (See Hearst papers of that time.) 

After this moral collapse the pair fled to England where 
for several years they shed literary and pictorial light into the 
dark recesses of the British mind through the Encyclopaedia Bri- 
tannica, after which Rupe returned to America to fill up the 
family magazines with his bright wheezes, while Rob went off 
to study the nude in the undressed studios of Paris. 

Having learned — architecturally — all about women, I re- 
turned to America as a portrait painter, and for several years 
immortalized on canvas the amazed features of some of our 
nicest people. The work was fun but full of penalties. Next 
to being the manager of a branch bank in California the most 
hazardous occupation extant is that of a portrait painter the 
outraged relatives of the sitter being invariably bent upon may- 
hem or murder. 

Thus driven from city to city I finally reached the sunkist 
subdivisions of Los Angeles where I hung out my shingle and 
painted the bucolic features of the onrushing Iowans. 

This was along in 1905-6— a time that in the future will have 
great historical significance, for an epic even was about to 
happen— the birth of a new Art. The seven Arts are as old as 
human history, yet there was another one still to be born — and 
I, luckily, was present at the accouchement. 

For several years I stood by the cradle and watched the strug- 
gles and antics of the flickering youngster and wondered why 
nobody was celebrating him in the public prints. All right, 
I says to myself, if the publicity hounds won't lay off their 
literary goo and do it, I'll do it myself. So I did. I just nat- 
urally threw away my paints and brushes and waded into a 
Corona, which resulted in a long and tiresome series of articles 
on Motion Pictures in the Saturday Evening Post. I was not a 
writer— as literary purists all insist— but the subject was lively 
and the fans didn't know the difference. 

Then I tackled a novel— the great American novel— and 
though it has never appeared in any list of the "10 best," yet 
the Red Book bought it, and had the nerve to run it for six 
exciting months. It is called "A Girl of the Films," and it would 
make a corking film play (adv.). 

Having told all-or nearly ail-about the Hollywoodmen of 
the movie world I decided I was a goat to write about the films 
while a lot of fellows were earning real wages writing for them. 



THE TRUTH ABOUT THE MOVIES 



425 



So I applied a heavy anaesthetic to one Jesse Lasky and when 
he woke up I was on the staff of the Famous Play ers-Lasky Co. 

Immediately motion pictures were lifted up into the largest 

if not the greatest— of the Arts. This accomplished, Jesse 
made me a director, the gaudiest gift in the hands of King 
Kinema. 

As to how I will direct the future of Motion Pictures I haven't 
yet decided for I am at present trying to get on the screen the 
elusive humor of Will Rogers. 

Personally, I am short (I have to jump to strike my wife!), 
thick-set, and irresistable with the ladies. I hate onions but am 
passionately fond of tall blondes. My manners are a bit odd but 
my customs are even odder. I enjoy chocolates but am forbid- 
den to eat them lest I lose my Greek equator. 



Disappointing as it may be to prospective visitors to the film 
capital, truth demands that they be warned to expect few thril- 
ling sights unless they assist in staging them. A walk down 
Hollywood boulevard reveals few stars and no gay palaces of 
crime, such as might be expected in a city which, theoretically 
at least, is given over to the pursuit of pleasure. Occasionally 
one's favorite screen player may be glimpsed through the win- 
dow of a limousine, or in a seat at the Hollywood Bowl, during 
the concert season. The beaches and restaurants occasionally 
prove equally fruitful. But as for gathering places where gay 
revels occur nightly — or even weekly — they simply do not exist. 





426 



^ ¥5 



How to Laugh Well 

IS FAT a disadvantage? Parts are constantly coming up for 
fat people. Most of the casting directors are very thin. Tell 
how you got fat. A part is bound to come. 

What is meant by types? 

Find out if you look like Napoleon or one of the Smith Broth- 
ers. The postmaster will tell you. A type is a man who has 
been told he looks like someone who made a big splash but 
isn't quite sure of it. 

Can you give me a camera tip? 

Yes. Write to Cohen's Camera Tipping Bureau. If you're 
not satisfied with his camera tips he will give you a tip on Juarez 
or Tia Juana. Try it. You may win something. 

What salaries are paid to the profession? 

As high as a million dollars a week. You probably wouldn't 
get that much — at the start. Don't become discouraged. Money 
is as easy to get in Hollywood as King Tut's eye tooth. 

What is a stunt man? 

A mentally unbalanced person who, for a consideration, is 
willing to delay a railroad train with his anatomy. Stunt men 
usually live to a ripe young age. 

Is the motion picture a fancy or a livelihood? 

Get an option on a yearly meal ticket, then you can try them 
either way. 

What is the Wampas? 

It is an Egyptian insect of the time of Sesostris. During 
its lifetime, it wriggled all over Egypt. It is exhibited once a 
year in Hollywood. Come out and see it and bring your loose 
hip with you. 

What should I do upon my arrival in Hollywood? 

Get off the street car and say, "Isn't this glorious." Keep 
your hand on your bank roll and study the real estate market. 
You may live to a ripe old age. 

What constitutes a girl's wardrobe? 

Everything she ordinarily wears and two changes of um- 
brellas for the rainy season. What? Why certainly — two pairs 

427 



428 



THE TRUTH ABOUT THE MOVIES 



— yes indeed. I should say so. Dear me, child, did you think you 
could get along without one of them. Yes, by all means. You're 
quite welcome. 

Would you advise starting as an extra? 

Well I should say not. How undignified. Start as a leading 
man and work down to an extra. Be original, dearie. Good 
extra people are getting more scarce every day. Hurry up. I 
heard them asking about you yesterday. 

Do reliable motion picture concerns advertise for help in the 
daily newspapers? 

Yes. Some of them need it very badly. Read the Wall Street 
financial journals. When you apply, act like a financier and see 
what happens. 

Tell us something about an appropriate screen name? 

If your name is Maginnis, call yourself Rose La Fleur or 
Mirabelle de Tut. You can have those two for nothing. I've 
got two left, Francine Violette and Hildegarde St. Pistachio. 
What am I offered for them ? Select a name that looks well on a 
check. 

What is an assistant director? 

A young man who is extremely well educated. He usually 
speaks several languages, including English. He is the only man 
in the world who can say "Yes" correctly. He's had years of 
practice. How would you like to meet one? 

How does the cost of Hollywood compare with other cities? 

It's much cheaper to live here than on Fifth Avenue. You 
can get a Lizzie for a dollar down and a dollar when you've got 
it. Bungalows are reasonable. In fact, Hollywood is very cheap. 
Don't tell anyone because everybody here thinks it's very expen- 
sive. No charge at all, thank you. 

What is a director? Are they perfect gentlemen? 

The first golf suit you see contains a director. They are 
gentlemen always. When you see one go boldly up to him and tell 
him you want to "break into pictures." If he should suddenly 
go insane, don't blame yourself. Most directors are greatly 
overtaxed — but not by the government. 

Should I work in pictures for a living? 

Ahem ! Most people do it for a living but some don't live long. 
By the way, do you want to take over a valuable piece of real 
estate? Let me know when you're coming and we'll meet you. 



THE TRUTH ABOUT THE MOVIES 



429 



What is a camera hog? 

An animal that has taken the form of a human being and 
monopolizes the camera to the exclusion of everyone else. Three 
of them were put back into the pen last week. 

What still pictures are necessary in securing employment? 

Always present a picture of yourself or, possibly, of your 
grandmother, if you look like her. Always keep a still picture 
moving. Select the costume and pose in which you look best. 
Always carry a still picture in your hand bag. It may come in 
"handy." 

What is meant by coming to Hollywood— prepared? 

Germany was prepared. Bring your knitting needle and a lot 
of pennies to buy postcards. Get a pet kangaroo and give your- 
self some publicity. Be sure and have good references from back 
home. No matter what happens — you're prepared but don't 
blame it on me. I've got nine children to take care of now. 

Taking the trip to Hollywood. 

Select a good railroad, kiss all your friends good bye and put 
yourself on a diet. By the way, don f t forget to tip the porter. 
You may meet the same porter going back. It has happened. 



The demand is here and new people must be developed and 
the extra girl who is before all of the directors, if she has per- 
sonality and perseverance, is sure to get her chance. Those who 
do not should console themselves with Longfellow's line : "Many 
a flower is born to blush unseen." 




¥5 



¥5 



Breaking into Pictures 



NE does not have to be a good second story worker to break 



into pictures, although previous training in this line is 



advisable. One should plan "breaking into" pictures very 
carefully. You must have courage, confidence and perseverance. 
If you are asked to play a Hottentot Potentate or a rural post- 
master, great. If you are asked to play a floor walker in a 
department store, a clergyman from Ospoosa, or a bouncer in a 
gin mill, fine. Play them. Before seeing casting directors, prac- 
tice a little bit on seeing bank presidents. Afterwards, you 
should have no trouble. 

Several years ago I was a life member of the Forty-second 
Street Country Club and was knocking down a few "balls" in 
Sixth Avenue, when I met, at the corner of Dead Man's Lane and 
Forty-Second Street, one of the largest producers in the busi- 
ness. He weighed three hundred pounds and was over six feet. 
The wind was rather strong that morning and he was trying to 
decide whether the girl's figures were as good then as they were 
when he was a boy back on the farm. I exchanged a saw buck 
and the time of the day with him and we played the eighteenth 
hole in the Kaiser Keller bar and I put the last ball in very easily, 
winning the game. 

He casually mentioned pictures. I was on the Cafeteria time 
then and had no intention of "leaving" the stage. But I knew 
that pictures would enable me to settle down, also "settle up," 
buy a piece of real estate and cause my wife to quit packing 
trunks eight days in the week. Besides, while I used to like all 
the hotel proprietors between New York and Seattle, I was 
getting a little tired of the "one night stand" and would have 
much preferred the "all day sit." My doctor told me that one of 
my hips was out of joint from pressing disguised Ostermoors in 
actors' boarding houses, so I listened to my friend with interest. 

He was producing something. He didn't seem to know what 
it was, but, anyway, he had gotten a camera and a director and 
several widowers and widows of the theatrical profession and was 
making something at a place called Fort Lee, which, as far as I 
could gather, appeared to be in New Jersey, a State I knew was 
across the river from New York. So, I left him and strolled up 




430 



THE TRUTH ABOUT THE MOVIES 



431 



to my office in front of the Palace Theatre Building, where I met 
Major Doyle, of the Street Cleaning Department, from whom I 
used to rent this space. When I told him I was "going into pic- 
tures" he asked me if I thought I'd ever come out again. He 
said I had about as much chance of making good in pictures as 
he had of selling a Hot Cross Bun on Good Friday. Then he went 
up Forty-Seventh Street and cleaned up a little congestion there, 
consisting of a vaudevillain who wanted to buy the theatre and 
amalgamate the Orpheum Circuit, the Broken Bottle Time and 
Cafeteria Time. There used to be some wonderful stuff going 
around in those days. 

So I had my grease paint dry cleaned, milked my mustache, 
got a flock of crepe hair and started for Fort Lee. I knew I was 
all right for I had engaged a special guide and we had a very 
pleasant trip. When I got there, I saw the Casting Director, 
gave him a letter of introduction from the producer written on 
the back of an outlawed pawn ticket about four years old, and 
learned that he had nothing to do with the production. Even in 
those early days, the shining lights of our amiable profession 
were not exactly noted for that beatific veracity which should 
exist. I nearly dropped dead when he cast me for the part of a 
rural mail carrier, perhaps because I was the only "artist" who 
had ventured across the Rubicon, and I concealed the natural 
beauty of my features behind the collection of crepe hair I had 
smuggled across the border and started to work. 

The plot was very complicated and, after waiting five hours, 
some large, benevolent property man handed me a crate of eggs, 
a jar containing a live goldfish and a calf. Very few people know 
it, but I am Irish and not unacquainted with the fistic art. Just 
as I was about to leave a famous old trade mark of mine under 
his left eye, he assured me that these "props" were connected 
with my "business." They chased me out into a village street 
just as the school children were leaving this institution of learn- 
ing and I had to dash madly towards a camera that an anemic 
looking ex-bookmaker was grinding and then exit. I did this 
about seven hundred times until a gentle perspiration began to 
appear both on the calf and myself and the goldfish began to 
complain. I distinctly heard that goldfish say, "Let's call it a 
day." Finally, after prancing through meadow lands with that 
camera fiend after me, I delivered the goldfish and the eggs and 
then the director told me to go home and report tomorrow at 
nine o'clock "made up." He suggested that I take the calf home 



432 



THE TRUTH ABOUT THE MOVIES 



with me and study its personality with the idea of inventing 
original "business." 

My wife met me and, naturally, spoke of the little companion. 
We gave it some milk and it looked up at me and called me "Ma." 
I couldn't tell her I was in "pictures" — a couple of actors had been 
given a free ride down to Bellevue Psychopathic Ward for that 
same thing and I told her I had been "sitting up with a sick 
friend" and the calf had followed me all the way from Four- 
teenth Street. 

Next day I made the journey to Fort Lee again, and, to make 
a long story short, that calf grew into a bull and I was still 
lugging it around under my arm. We attended the funeral of 
the producer and, in his Last Will and Testament, he transferred 
all rights to the production to his maternal uncle on his grand- 
father's side and we started again. On the last day, I ran through 
a flock of beehives and I dropped the animal I had been escorting 
for about three months and started homeward. All these affec- 
tionate and sweet insects settled on the front part of my map and 
when I reached my home house, my face looked like the siege of 
Ypres. For five miles the contending forces had been fighting a 
desperate engagement for possession of the Bridge of My Nose. 
My wife sent for the doctor and he tapped me. I got twenty 
cents a pound for the honey he took out of my face, but his fee 
was §37.50. 

I sent my secretary over to the "studio" and he got seven and 
a half and some still pictures. Looking at them was what caused 
me to wear eye glasses today. When I got all the crepe hair out 
of the pores of my skin, I started out again and, when some friend 
told me I looked like an Irish policeman, I paid him ten per cent 
and bound him to secrecy. I have played almost everything, 
but I like Irish policemen. 

So, I sent letters of regret to the leading vaudeville magnates, 
closed up my office in front of the Palace Theatre Building, sold 
the old trunk for firewood and went into pictures. I like them. 




^9 



A Letter From One Irishman to Another 




I 



CANNOT advise you to adopt the mov- 
ies as a mode of living. There are 
enough movie actors out here now to 
supply all demands and that takes in both 
sides. What if you do have a wonderful 
voice and can dance; it means nothing tc 
the ever exacting screen. Why, we have 
more dancers out here now than we can 
find floors for. In the presence of the 
prize ring ; you must go get a reputation 
before you can become a profitable screen 
-y\^xW*< asset. I would advise you to learn a trade 
and stick to it, and save yourself a lot of 
grief. The holly woods are full of inspired men and women, 
who have chosen the screen as an outlet for their talents, but 
they are alone in their choice, as there are very few who ever 
rise to the steller ranks of stardom. I've been working in pic- 
tures now for twelve years and the nearest I ever got to being a 
star was when I played a policeman, and had to wear one. I've 
been on the outskirts of popularity and rarely ever get inside the 
sacred circle. You know, Mike, comedians are born, not made. 
I know of one or two who were made, but they must have run 
out of material. Making people laugh is an art that only a born 
comedian can master. You must know where to start and quit, 
if you hang on too long then your effort is forced and becomes 
mechanical. I've been manufacturing laughs for 38 years now, 
and as long as my wife says they are funny I'll continue to do so. 

But if you can't find anything to do you might come here 
and give the pictures a try. Everybody is doing it, and who 
knows, you may turn lucky. 

Must make it short and send a wreath to my bootlegger, who 
passed out of my life last Tuesday. He drank some of the oil 
he had reserved for me. Don't call it fate. It was just bad 
liquor. 



433 



CHUCK RIESNER AND DINKY DEAN 



434 



How I Broke Into The Movies 

THE first time I ever faced that one-eyed monster was back 
in 1910 with the Harry Revier Motion Picture Company 
at Salt Lake City, Utah. 
I insisted that I should be the hero, but they decided I had 
the wrong kind of a profile and so they picked Willard Mack for 
the man that wins out at the finish, and made me the villain, 
whom Mack wins the decision over. That was the beginning of a 
bad end, as I have been a villain ever since, and I know I must 
be a good one, for I never get any fan mail. In those days you 
could take any play and put it into films without the least bit of 
interference, providing you changed the title, as no one would 
see it any way. 

The camera looked like a miniature threshing machine and 
sounded like a Ford in reverse. We knew nothing of camera 
tricks in those days, and owing to that ignorance I still carry a 
scar from a smack over the head with the limb of a tree. They 
informed me later that, after I got hit by that tree, I gave the 
* most life-like performance in screen acting that had been noticed 
up until that time — it looked so real. Although I never told them, 
but it was very much real to me, I really can't remember any- 
thing until I woke up in the morning, with the top of my head 
feeling like the Blue Ridge Mountains of Virginia, and when I 
told Harry Revier that I was through and was going back into 
vaudeville, from whence I came, he made a remark that I had 
a swelled head because he said I was good. I told him the only 
way he could keep me there was to let me be the author of the 
stuff that happens to me. And from 1910 until 1914 I practiced 
film authoring — and landed a job with Mack Sennett's Keystone 
Company. 

They labeled me "Gag Man," and I fooled Sennett for nine 
months at this, until he got wise to me and made me the villain 
in a Chester Conklin Comedy entitled "Her First False Step." 
It should have been called "His Second False Step," for in one 
scene, and, by the way, it was my last one, I was pulled up in 
the air on a wire that wasn't supposed to break but did and I did 
a nose dive that I had no intentions of taking and went into a 
two-hour Rip Van Winkle. When I woke up I could distinctly 
hear the Orpheum Circuit paging me, and I borrowed enough 

435 



436 



THE TRUTH ABOUT THE MOVIES 



money from Dick Jones and Fred Fishback to get a one-way- 
ticket to New York City, where I earned the groceries and room 
rent by talking to the dear public instead of trying to imperson- 
ate a kite in pictures. 

I fought the New York booking agents until 1918, when my 
little son Dinky was born — his real name is Dean Franklin Ries- 
ner, but we figured Dinky Dean was a much nicer name and he 
wouldn't have to drag the name of Riesner around and be held 
responsible for my failures. Then Mimi (you know Mimi is my 
little red haired wife, and Dinky's mother), well, she said let's 
go to California so baby will grow up in that wonderful climate. 
I agreed with a sickly smile, for I knew that meant more villain 
roles for me, so I wired my friend Charlie Chaplin, and six days 
later I was in the Scenario Department at his Hollywood studio. 
Being married for quite some time I had learned how to say 
"Yes" without flinching, so I fitted in nicely there. 

I stuck to the finish of that first picture called "A Dog's 
Life," and then Charlie went on the Liberty Loan drive and I 
figured I was now fitted to direct a picture and got myself a 
job at the Century Studios. When I got there I found that a 
Director had taken ill and so they put me directing his com- 
pany. He was making WILD LION PICTURES. I am even 
afraid of a mouse, but I stuck. It is hard enough to direct 
human beings, but did you ever try to tell a lion what to do? 

I used to try to act brave in front of the actors, when I would 
tell them what I wanted to have them do. They would make all 
kinds of objections and all I could think of to say was, "Don't be 
silly." One day the entire company quit and I tried to console 
them by saying the lions were all tame, for they were raised on 
a bottle, and Kid Blue, the colored comedian, spoke up and said : 
"So was I raised on a bottle, but I eat meat now." I finally 
struggled through ten of those pictures and was paid a lot of 
money for making them, but gave it all back to a private chiro- 
practor to try and cure me of a nervous spine. After he had 
all of my money he told me to go to some quiet place for a com- 
plete rest, so I went back and got a job with Chaplin. I became 
the villain in the picture called "The Kid." I received a lot of 
abuse with a brick in that picture, and when the picture was 
finished I informed the world through a full page ad in Variety 
that I was coming back to vaudeville and was through with 
pictures. 

But the fever had me and I was back shortly directing Lloyd 



THE TRUTH ABOUT THE MOVIES 



437 



Hamilton and from there on I made a lot of very good comedies, 
regardless of what the critics said. After that I needed a rest, 
so went back with Charlie again and villained in "The Pilgrim." 
It was a nine months' complete rest. Dinky Dean, my little 
boy, was three and a half years old then and he played the little 
kid in that picture, and received more publicity in three months 
than I received in twenty years. Since then I am constantly 
being introduced as Dink Dean's Dad, and I believe this will stay 
with me forever, for Dinky has his own company now. 

It seems that there has always been some handle attached 
to my introductions to people, such as "Meet Chuck Riesner, he 
is playing at the Orpheum this week," or "You know, Chuck is 
the man that wrote 'Good-Bye Broadway, Hello France,' " or 
"Shake hands with Mr. Riesner, Charlie Chaplin's right-hand 
man," etc. But this last one, Dinky Dean's Dad, will stick for- 
ever, for I am getting older and Dinky is getting better. At this 
writing I am doing another villain, but I have a sneaking sus- 
picion that this will be my last abuse as a villain, for I have just 
signed a contract to play the villain in twelve pictures in which 
Jack Dempsey is the hero. 



CHUCK RIESNER 





¥9 



What Are the Six Ages of Comedy 

IN COMPILING the history of motion picture comedies it is 
hard to keep from laughing. If we laugh it will spoil our 
reputation. So, therefore, we will dictate, and not write this 
article. 

CHAPTER ONE— EXPLOSION AGE : Many years ago a man 
with a camera happened to pass by a mining camp; while he 
was there several explosions took place, ruining not only the camp 
but most of the people in it. He had a very peculiar sense of 
humor so he decided to make motion picture comedies using 
explosions for the base of the comedy. This accounts for many 
of the eruptions heard around the world during that period, for 
which many first class volcanoes were blamed, thereby ruining 
good reputations that were built up through years of hard burn- 
ing. After the dynamite trust had become wise to the reason 
of the shortage of dynamite, the pioneers of this industry decided 
to dispense with this form of comedy. This age is also respon- 
sible for so many of the stars using ''doubles" to take their places 
when about to be thrown into the air to flirt with the angels. 
This is also the way they got "angels" to back motion picture 
companies. Some of them got so far back that they never caught 
up with their bank rolls. When the public tired of the explosions, 
the "angels" tired of the deficits and thus ended the first period. 

CHAPTER TWO— COMEDY-COP AGE: The second period 
of motion picture comedies is known as the Comedy-Cop Age. 
So many men look funny in police uniforms that we can safely 
say that this idea was taken from life. The first ambition of 
every young man when he reaches the unreasonable age of seven 
is to see something awful happen to a policeman. What more 
awful could happen to him than to see himself portrayed in a 
motion picture? The screams of delight that greeted these pho- 
tographed catastrophes that happened to the keepers of the peace 
made all comedy manufacturers impatient to outdo each other in 
finding new ways to make a policeman look ridiculous — or nat- 
ural. The so-called happenings became so dangerous that it dis- 
couraged men from becoming minions of the law, and filled up the 
hospitals in Los Angeles with maimed and wounded policemen 
who risked their lives for 87.00 a day. 



438 



THE TRUTH ABOUT THE MOVIES 



439 



CHAPTER THREE— THE FLIVVER AGE: Outside of the 
invention of the camera nothing has done more for the motion 
picture comedy business than the invention of the automobile — 
we should have said the flivver. If the manufacturer of a cer- 
tain brand of car (we cannot mention his name on account of 
the advertising he would receive) would receive a royalty of 
one-tenth of a cent per mile, or one-fifth of a cent per rattle for 
every time they photographed his automobile, he would be able to 
pay all the soldiers off with a weekly bonus. 

The flivver proved so popular that it made a city out of De- 
troit, Mich., while the flivvers made a wreck out of the streets 
of Hollywood and Los Angeles. Thus ended the third period. 

CHAPTER FOUR— PIE THROWING AGE: During the pie 
throwing age the slogan of the comedy motion picture directors 
was "Say it with flour." The joke about the biscuits made by 
the bride was soon forgotten and pies filled the air all through 
Hollywood, in places where only the oranges had dared to tread. 
So much flour littered the streets and lanes of Southern Califor- 
nia that many nearsighted natives thought the climate had sud- 
denly changed and that their properties were covered with snow. 
Blackberry, huckleberry, cranberry, apple, peach and custard, 
they played no favorites; their only object in life was to hit 
their object with a pie. This period might still be in vogue if 
Mr. Hoover hadn't stepped into the breach and put a ban on the 
use of these weapons. 

CHAPTER FIVE— BATHING GIRL AGE : The bathing girl 
age found the comedy making business in good shape. Things 
began to take form in a different manner. It is believed that 
Annette Kellerman is the one who can be blamed for this wave 
of re-form. It seems as though girls' homes, girls' colleges, sten- 
ographic courses and department stores were forgotten. Every 
little girl who was a nice little girl got herself a bathing suit 
and a railroad ticket marked "California." Many of them didn't 
bother about the ticket. The Los Angeles railroad stations 
looked like commencement day at Vassar. The only difference 
was in the dressing. The cap and gown were replaced by bath- 
ing cap and bathing suit. Swimming teachers were at a pre- 
mium, the majority of the girls being under the impression that 
a motion picture girl really had to go into the water. Instead 
of laying out schedules according to the light and sun, directors 
were now taking their time to suit the tides. A scarcity of fish 
was noticed off the Atlantic Coast, as the word was passed along 



Jack Daugherty 
Willard Louis 
Wesley Barry 



. John Roche 



4. Walter Long 

5. Ted Edlin 

6. Joe Bor.omo 



440 



THE TRUTH ABOUT THE MOVIES 



441 



that the Pacific Ocean was full of bathing girls. Thus originated 
the saying, "You poor fish," meaning a fish who did not know 
enough to follow Horace Greeley's advice to "Go West." The 
favorite quotation of those days was, "Mother may I go out to 
swim? Yes, my dearest daughter, but don't go into moving 
pictures." 

CHAPTER SIX— PRESENT: This is the age of "Bigger and 
Finer" things in comedy — out West in the big open spaces, where 
a man's a comic — the midnight oil is burning in an effort to 
give the public something bigger and better. The confidence- 
within-the-industry has spread from the smallest extra to the 
biggest-headed director. Comedians who formerly were satis- 
fied to fall off a four-story house to make the public laugh have 
now doubled their efforts and are falling off eight-story build- 
ings. Not being satisfied to have one eye blackened in a comedy 
fight, comics are now doing their best to blacken two eyes. A 
black eye now-a-days is a mark of honor and shows the wearer 
is striving to please his public. A comedian today no longer 
finds his dressing room filled with slapstick, property bricks, 
stuffed clubs and exploding cigars. Comic situations have taken 
the place of these veteran laugh getters and the best brains of 
the best humorists of America are getting money under false 
pretenses in every comedy studio in California. 

This is a move in the right direction as a big earthquake 
is expected any day and the country may get rid of a lot of old 
joke writers, proving again that the motion picture industry is 
always striving to please, to improve conditions within the indus- 
try, and make the world a bigger and finer and funnier place to 
live in. 



* * * 



My advice to embryo actresses is not to isolate themselves 
from their homes and families in seeking a career. In the early 
stages of the game, more than at any other, they need the en- 
couragement and the optimism gained from home life. 





442 



¥3 



Impressions of an Actor During- a 
Vaudeville Tour 

AST year I satisfied a craving that had been eating into 



my system for some considerable time — namely — a return 



to the speaking stage; this took the form, of a tour over 
the Keith and Orpheum circuit from coast to coast. 

Just how delightful that experience proved to be I do not 
propose to go into here, but, during my stay in the different 
cities several people were good enough to offer me entertain- 
ment in their homes, and in this way I was afforded the oppor- 
tunity of gauging the interest taken by the average family 
in the Motion Picture industry and all pertaining to it. 

Now, being a member of that industry, I found myself, on 
such occasions, literally bombarded with questions as to my 
personal experiences, etc., etc. 

I can recall two impressions that I received from these ques- 
tionings that I found rather disturbing. Firstly — The miscon- 
ception existing in the "family" mind as applied to the average 
Motion Picture Director. I found that, invariably, they imag- 
ined him as a very huge person, physically, fearsomely arrayed, 
among other things, in riding breeches, very extreme as to cut, 
putties, horn-rimmed spectacles, and a golf cap, he carried an 
enormous megaphone through which in striden tones he roared 
orders at a badly scared group of actors and actresses, just 
pawns, people with no initiative or say in the general proceedings. 

Now, I found, when I tried to point out to them that this was 
merely a creature conjured up by the fertile brain of the artist 
working for the funny page, that the real director was 
as a matter of fact a very human approachable person, whose 
voice one rarely heard outside of a given radius of the camera, 
who rarely used a megaphone at all except when directing mob 
scenes, and who strange though it might appear, was only too 
pleased to discuss the development of an important scene with 
the principals of his company, I found that, in a great many 
instances, I had failed to convince, my listeners were polite but 
skeptical. They had formed this impression from reading it in 
a certain class of journal and it was too deeply rooted for me, in 
one sitting at least, to dispel. 




443 



444 



THE TRUTH ABOUT THE MOVIES 



Secondly— The startling, and accurate amount of knowledge 
these same people had as to the inner workings of tricks and 
stunts employed in the making of certain feature productions, 
and, apropos of this: I have always contended that it is a 
very serious mistake to write or picturize an explanation of 
"just how it's done." This fact was borne in upon me very 
strongly when I found myself faced by the merest youngsters, 
who, in bored tones, declared, after seeing some supposed thrill 
in some big feature, "Aw gee, I know how that's done, saw it 
in such and such a magazine" One can imagine the effect on 
an audience assembled to witness an illusion produced by 
"Herman the Great," or any other illusionist, if, beforehand, he 
were to deliver a talk explaining just how the illusion was to 
be produced. It would rob them of the very thrill that they 
had come to enjoy. A story comes to my mind, having nothing 
to do, by the way, with my convictions along this line, but it 
may raise a smile. A conjurer, giving an entertainment in the 
local hall of a small town in Ireland, stated that he would con- 
clude the performance by asking some member of his audience 
to write a quotation from the Bible or the name and address of 
some dear friend on an ordinary school slate that he intended 
to pass among them, and, after doing this they were to reverse 
the slate, wrap it in a piece of thick red flannel that he would 
provide, pass it up to him and he would read the writing through 
the flannel and the slate. Before he could finish his announce- 
ment, a very large woman, seated in the middle of the hall, 
jumped to her feet and shouted, "Wait a minute, let me get out 
of here, this is no place for a woman in a thin muslin dress." 




It is not hard to get into the movies if you are a good movie 
type. 



Beauty and the East 



THERE was once a girl who won a so-called beauty contest 
in a town that was so green they called it Paris. What 
state it was in must be kept a secret, but nevertheless it 
was an awful state. 

Beauty contests as you might know are judged by the num- 
ber of votes cast, and this girl got all her sweethearts together 
and told them she wanted to win, so that she might go to Holly- 
wood and be among them, so to speak. 

A couple of barbers, the hotel keeper, a mail man, the grocer 
and their kin worked hard to elect Lydia Pinkhurst to the 
position of the most beautiful girl in town. Beauty cannot be 
judged by the popularity of a person, therefore it should not 
flatter anyone to win one of these misnamed affairs. 

The day Lydia left Paris the whole town came down to the 
depot to see her off, and she got on the train bare-headed as 
her hat had become two sizes too small for her after this 
confession that she was the beauty of beauties. 

When Lydia arrived in Hollywood she went directly to the 
Down-and-Out Film Company and was there informed that 
she had won herself an extra part in Mr. Pa jama's next one- 
reel feature. Being just a trifle dumb from her Adam's apple 
up she figured "extra" meant an extra good part so she stumbled 
out of the studio in her best lady-like manner, to return when 
they should call her. 

During the next six months of waiting Lydia was very busy 
sending third and fourth-hand rumors back to her sleepy village 
but getting most of her information from waitresses, manicur- 
ists, and others who had won beauty contests in various places, 
only to come to Hollywood, where there are real beautiful 
women. 

Every one in Paris taking stock in the reports that their 
Heroine had been sent back from the "wickedest" of all cities, 
were shocked to think of the temptation, the vileness that their 
little "lamb" was subjected to. 

Unfortunately, as this story goes along, the Down-and-Out 
Film Company had discontinued production so Lydia never 
got the opportunity to get even inside of the studio. But judg- 

4+5 




Freulich 

MARY PHILBIN 



446 



THE TRUTH ABOUT THE MOVIES 



447 



ing from the letters she wrote back home, you'd think 
screen celebrities and other girls used to bother her to death to 
go on "parties" with them. 

Running low of finances she figured it would be a timely 
thing to write a "rubber" check. It didn't make any difference 
to her what bank it was on, as she didn't have money in any. 
"Rubber" checks will bounce back, and when they took her to 
jail, the officers asked her what her occupation was. Very 
modestly she admitted that she was a motion picture star, and 
of course the papers all over the world came out with big head- 
lines: MOVIE STAR GOES TO JAIL. 

And thus Lydia finished her self-made drama, and unfor- 
tunately for her with one of those unhappy endings. 

MORAL: It's better to be a beauty in a small town, than 
a fish in an ocean. 



Does Success Come Quickly in Pictures 
RE you willing to ..wait for success and work for it and be 



patient and smile when you receive disappointments? 



Then you are fairly well equipped to enter pictures. A 
girl may be beautiful but she has to have something more than 
that. She may be talented and yet she has to have even some- 
thing more than that. She must have PATIENCE. Opportun- 
ity knocks at your door but once and you must be prepared to 
grasp it. It probably won't come again. Successive disappoint- 
ments and hard work breeds patience and, without patience, you 
are lost. Patience is the secret of what success I have attained. 
Patience, hard work, smiles and readiness to grasp opportunity 
will continue to be the foundation of whatever success I may 
achieve in the future. 




— From AI Martin's "My Hollywood' 






. I- 

Edwin Bower Hesser 

GLORIA SWANSON 



448 



¥5 ^5 



Do You Applaud the Movies 

(The question, whether or not one should applaud motion pic- 
tures, has long been a subject of discussion in magazines and 
newspapers. Some persons contend that it is ridiculous to applaud 
motion pictures for the simple reason that the film print is an 
inanimate object. Gloria Swanson, one of the most popular stars 
in the world, has the following to say on the subject.) 



I BELIEVE one should express one's approval and pleasure 
if one enjoys a picture production, and as handclapping is 
our conventional method of expressing our enthusiasm in the 
theatre, I think it is perfectly natural that we should indulge in 
it. This human manifestation of gratitude and pleasure which 
has been inspired by art, whether it is music, the spoken drama 
or motion pictures, should not be suppressed. One cannot turn to 
the stranger in the next seat and say, "I enjoyed that picture 
very much," but one can applaud and let everyone know that one 
has enjoyed it. I believe many persons feel that they would like 
to tell everyone that they enjoyed certain pictures, but as there 
has always been a feeling of self-consciousness regarding ap- 
plause on the part of picture audiences, they sit perfectly quiet 
and suppress all the pent-up emotion they feel. If we, as a 
nation, continue to stifle our fine sentiments and emotions, we 
force which is characteristic of Americans. 

To be sure, the celluloid figures on the screen cannot hear your 
applause, and there may be none of the actors or actresses who 
took part in the production in the audience; but that does not 
matter ; if you like the picture for its story, its artistic effects or 
its concentration, by all means applaud and let everyone know 
you like it. The only way producers can ascertain what the pub- 
lic likes and wants is by tne enthusiasm which the public ex- 
presses. I believe the producers are anxious to give the public 
the kind of picture production it wants, and surely the public 
should make it its business to demonstrate its approval. Abso- 
lute silence in an audience may denote almost anything from 
approval to indifference. There is no way to judge whether or 
not the audience has been pleased if a production does not arouse 
a response. The actor on the stage is rewarded by a succession 
of "curtain calls" when he has pleased an audience, but the 
motion picture, which is quite as human in its own way, fails to 



449 



450 THE TRUTH ABOUT THE MOVIES 



receive more than a timid patter of hands from an average audi- 
ence. Though it may have stirred an audience to the depths of 
its emotions, the silence which follows does not prove it. At 
races, ball games, parades, enthusiastic response is a natural 
force. Why not applaud motion pictures which arouse the same 
feeling? 

>K * * 



No Influence Is Necessary 

AS SOON as you tell people you are employed in the motion 
picture business they immediately ask you if it's possible 
to get "in" without pull. And I always answer, "yes." 
Then I go on to tell them what pull will not do. I tell them 
of the hundreds of people who have used pull and influence 
as the "open sesame" to motion picturedom, but this same pull 
and influence never kept these people there when it came to a 
showdown. If you haven't the training, the background and 
the qualifications, all the pull in the world won't help you. 

My suggestion to people aspiring to a motion picture career 
would be to use the age old advice — begin at the bottom and 
work up by standing on your own feet, and expecting help 
from no one. 



There is a Romance in the Picture 

IN THESE days of commercialism, when there is much talk 
of improvements of various kinds and manners, the real aim 
and object of men's lives seems to have been relegated to 
an inconspicuous position called into life later, presumably when 
they have accumulated sufficient of necessity to indulge in lux- 
ury, that is if Art may be properly classified as a luxury. To 
me, Art is a necessity, the art of happiness, the art of expres- 
sion and Art should have a place wherein Art can live and de- 
velop, Art is life and life is Art, naturally and humanly ex- 
pressed. 

The motion picture embodies, in its proper expression, many 
branches of art, photography, scenic art and the supreme art of 
dramatic expression. If the motion picture holds the mirror 
up to life, its appeal is universal, because life is universal. Its 
finer shades of meaning, its universality, are worthy of study, 
serious and exhaustive, on the part of those who aspire to in- 
terpret these shades of meaning. 

A grand scheme of happy co-operation might exist in this 
Mecca of motion pictures, the place which devotees visit from 
the world over ; the Mecca to which the faithful turn their faces 
each night at sundown and to which the world must eventually 
journey. We are told that the groves of Athens once echoed to 
the footfalls of philosophers, who made life a philosophy and phil- 
osophy an art. There, personalities dwindled into insignificance 
and study and meditation and concentration upon the art of 
philosophy was the rule. In the groves of Hollywood, such an 
ideal condition might exist, when commercialism and the bitter, 
cruel things which commercialism beget, have died and the life 
of the world is spelled in the life of art. Art is a universality 
of peace, an analysis of life and life, to be dramatized, must be 
studied with calmness and strength of purpose. In all times 
and climes, a surplusage of money has gone to fostering those 
arts which have been the foundation of life itself. It has gone 
to fostering the efforts of those who have endeavored to make 
life permanent and eternal by symbolism in art. 

And there are, in this industry, many today who occupy minor 
positions and tomorrow will be the stars, who interpret. The 
underlings of today will, tomorrow, be the men who will direct, 

451 




Witzel 

ROCKCLIFFE FELLOWES 



452 



THE TRUTH ABOUT THE MOVIES 



453 



* through what they have learned, movements of importance and 
meaning in the motion picture development. Therefore, give 
freely of what knowledge you have because you must pass on and 
your place be taken by those who must have your knowledge and 
that which comes to them as they progress. 

First should come that co-operation among those who foster 
and bring to life things which, in themselves, are founded on 
harmony, by their very nature. The peace and study and effort 
and final achievement which characterized the groves of Athens 
is not impossible to the cinema philosophers who may preach a 
doctrine of harmony, if they will, from the groves of Hollywood. 

Harmony and the mental peace which comes from it is neces- 
sary in any industry and inharmony falls of its own volition. 
Strange as it may seem, harmony is much easier to attain and 
hold than inharmony, because harmony is true, lasting and 
eternal. 

Amusement, the taking of a human being's mind from his 
engrossing problems, is a philosophy in itself, perhaps the great- 
est philosophy. Let us preach, therefore, the doctrine of har- 
mony through the philosophy of amusement. Let us make of 
Hollywood a Mecca, which will embody and typify the Art of 
the Western World, perhaps of the whole world. Let us, who 
portray and make and write and dream this art, make the hegira 
of the whole world to the cinema shrine worth while. Let those 
who are of the industry study the sculpture, the photograph, the 
humanity, the interpretation of this, the greatest of the arts, 
which is capable of swaying a world. 

Out of chaos, or near chaos, out of uncertainty of purpose, out 
of personal prejudice and jealousy, there will and must come 
harmony, a situation in which we try to find happiness for the 
other student as well as for ourselves and, perhaps, we may even 
try to find it for the other man first, in answer to the tenet of 
universal brotherhood. 

These are a few of the considerations and thoughts which go 
to make the philosophy of motion pictures. Its powers of expres- 
sion are unlimited. Its field is universal. Its language is the 
language of the world and the language of the world must, even- 
tually, be harmony. 




My Opinion of the Motion Picture 

I HAVE many opinions regarding it — and varied; some very 
commendatory, some very critical. The merits of the motion 
picture today are visible on the screen. They'll take care of 
themselves. The things not visible are the most interesting, 
hence the angle of my opinion. 

In the first place, the motion picture, although quite an art 
in its present state, is still in its mediocrity. The condition is 
inevitable and will continue so indefinitely because the demand 
for pictures far exceeds the supply and photoplays have had to 
be made on time schedules with many limitations and handicaps 
to prevent a dearth of entertainment and the closing of theatres 
in which huge sums have been invested. 

Another reason for the fact that the motion picture today 
is only semi-artistic is the fact that producers have been made 
to believe that the 20,000,000 people who make up the daily 
motion picture audience averaged but 12 years of age in intelli- 
gence. Fearing that an adult type of photoplay might be "over 
the heads" of the average audience too many producers have 
made pictures so silly, so puerile that a good percentage of the 
public is cynical in its attitude toward the screen. Recently a 
thorough analysis of the theatre going public has brought out 
facts proving that the standards of intelligence accepted during 
the war and before, are not accurate today. Hence the future 
is bound to profit by the encouragement this knowledge gives 
producers who have wanted for a long time to do more serious 
work but have been reluctant to venture and stand a possible 
financial loss too big to withstand. 

"Black Oxen," "Woman of Paris," "The Marriage Circle" 
and several other pictures of the 1923 season show the tendency 
of producers to offer stories of a more adult character and that 
some men sincerely interested in the business had the courage 
of their convictions. 

Motion picture producers may be greatly responsible for the 
present standard of motion pictures but in no less a way are 
picture audiences themselves responsible. When picture fans 
demand that their theatre men display pictures of a higher class 
and show their interest in the entertainment that is offered, 
the producer will have a better idea of what the public expects 



455 




456 



THE TRUTH ABOUT THE MOVIES 



457 



and can venture forth with a certain assurance that his advanced 
efforts will meet with a certain sympathy and support at the 
hands of the ultimate consumer. 

Photoplays are advertised nationally far enough in advance 
so that motion picture fans generally know when to expect cer- 
tain photoplays, which, from original stories, and because of 
their producers' established reputations, they know will have a 
certain positive merit. If these fans will make known their 
desires and preferences in pictures, exhibitors, like producers, can 
eliminate that element of chance which now enters into their 
bookings. Too frequently, today, audiences resent the idiocy of 
many photoplays, deliberately made "risque" to satisfy the de- 
mand of those who like "spice" in preference to realism, but 
their failure to voice their views emphatically to exhibitors, 
forbids this knowledge of whether pictures which drew large 
crowds send them away satisfied and enthusiastic — or the con- 
trary. 

Censorship, too, has raised a no small amount of havoc in 
present day motion pictures. No art can be beautiful until it is 
free but certain falsely modest censors, people destructively crit- 
ical rather than broadminded in their views, have forbidden the 
motion picture to portray life with its realistic beauty. The 
same censors who acknowledge the brilliance and inspiration in 
the immortal Shakespeare, Moliere, Ibsen and the Greek tragedies 
would forbid them life upon the screen or so mutilate them in 
their narrow minded manner that they would be unrecognizable 
and uninteresting. 

I have confidence, however, that conditions will improve ; that 
the public will take a deeper interest in pictured entertainment, 
that the best of histrionic talent will come to the screen and that 
a few months more will bring to the fore the real genius among 
producers, until now, not properly brought out. 



¥5 



¥9 



Too Much Criticism 



MONG my faults I admit to being sensitive to nagging, al • 



L\ though I welcome constructive criticism. I sometimes 
■ wonder if the screen-going public in some instances at- 
tends photoplays purely for the entertainment and instruction 
to be gained therefrom, or to find fault. 

For years the women of America have been slaves to Paris. 
I know whereof I speak, for during seven years with Poiret and 
Paquin I myself designed many gowns which became a vogue. 

Far be it from me to criticise the public, which is the final 
arbiter of all our fates, and which has been so uniformly kind to 
me, but I often imagine that certain individuals do not take into 
consideration the immense detail that is involved in making a 
picture. There may be some producers who are careless. I 
know, for instance, long before a production is started, the 
amount of research that is carried on to secure accuracy in inves- 
titure, in costuming, in set decoration and furnishings is exhaus- 
tive and indefatigable. 

There is one picture magazine for example, which devotes a 
couple of pages in each issue in effect, "Why do they do this?" 
These pages are filled with criticisms from playgoers who have 
picked infinitesimal flaws in sometimes otherwise perfect pictures 
and called attention to them. This is carping criticism and it is 
certain that were the critics to undertake a similar work the re- 
sults would be far less perfect in all probability. Motion picture 
companies are devoting untold time and money and pains to 
getting things right, and if at any time mistakes occur it must 
be put down to the frailty of humankind and not to carelessness. 

In one of my late pictures the assistant director made a 
special trip from Hollywood to Sing Sing prison and took shots 
both inside and out. He went to the Criminal Courts building 
and the Tombs and to the real Bridge of Sighs to get the accu- 
rate settings for this story by Alice Duer Miller. Do you won- 
der I am touchy about unthinking critics who say the movies 
are careless and superficial. 





Sex and the Screen 

THE above title may sound alluring but it is like many of 
those grafted upon our picture productions — its object 
is to arrest attention while I tell you about something 
you wouldn't otherwise be interested in. 

I have observed that Jill must know her business, not only 
as well, but just a little better than Jack, if she is going to 
"get by" at all. The more jobs she has filled, the more she knows 
of the business as a whole, the better chance she has of making 
a real place for herself. Her sex is her chief handicap, not as a 
playwright nor as a continuity writer — for it is the general 
belief that both of these need the feminine slant — but as a 
producer or director of pictures. 

A producer is necessarily involved in endless business details. 
Now, men don't really like to do business with women. In the 
first place, they don't trust them. Perhaps as husbands they 
have so often had their pockets picked while taking the morning 
shower that they have ceased to expect a woman to play the 
game, man to man. And even if the men have confidence in a 
woman's financial integrity, they are never quite sure she won't 
take advantage of their masculine gallantry and get something 
she isn't entitled to just because she is a woman. After all, 
it is a bit precarious to do business with someone you suspect 
will fall back on her sex and get all the sympathy of the on- 
lookers if you ever have to fight her. And what business man 
in the world doesn't look forward to an occasional good row, given 
an even break! Then, men don't expect women to understand 
the intricacies of business, the cost of production and distribu- 
tion, the percentage of overhead, locked up capital and liquid 
assets, and especially the complications of banking transactions. 
I admit I've sometimes wondered just how clearly the men them- 
selves understood them, and one or two unwisely frank gentle- 
men have even admitted that they were congenitally hazy about 
"earned and unearned profits" and the "circuit velocity of 
money," doubtless due to the parental influence of their mothers. 

As a director, too, Jill's sex is a handicap. There is a gen- 
eral impression that her physical strength is not sufficient to 
meet the demands of such work. The answer to this is — it de- 
pends entirely upon the individual. I know several women who 



459 




JANE MURFIN 



460 



THE TRUTH ABOUT THE MOVIES 



461 



can out-work most men. To be sure there are some types of 
pictures I would not advise a woman to direct. The great out- 
of-doors productions with thousands of extras or animals seem 
to belong more naturally to men. 

There is always the question as to whether or not an actress 
responds to a woman director as readily and with as good re- 
sults as to a man director. That, too, depends upon the indi- 
viduals. Some women respond emotionally to the opposite sex 
more easily than to their own. These women need a man to 
direct them. Other women are stimulated through the mind 
and the imagination and can create their own emotions regard- 
less of the director, and so respond as quickly to one sex as the 
other. 

I have found that the first impulse of an actor is to mentally 
question the ability of a director — does he know his business — 
and until the actor is fairly certain the director does know, 
nothing much happens in the way of a response of any kind. 
I think a woman is faced by a bigger question mark in the minds 
of actors than a man, which brings me back to my original state- 
ment — Jill has to know her business quite as well and perhaps a 
little better than Jack to "get by." 




* * * 



There comes a time — and it happens often — in a person's 
life, when a situation brings about cold feet, In other words, 
the probabilities are that one hates to do a certain thing be- 
cause of timidity, the sarcasm of others, or possessing the feel- 
ing of uncertainty — all of which means that if you desire to 
get into picture work as an actor, director, or in any other 
capacity, do not be afraid — do not get cold feet. Stick to your 
belief and you can't go wrong. The people that do go wrong, 
those that never succeed, are those who are half-hearted and 
not at all sure that they can make good. Whatever you under- 
take to do — do it with a will, a firm belief and cocksureness in 
the final outcome. But never get cold feet. 



¥9 



The Art of the Motion Picture 

THE motion picture is the newest development of one of the 
oldest arts. Pictorial word paintings was one of the earli- 
est methods of setting forth a great truth so that the 
imperfect but inquiring mind of man could grasp it. 

"How beautiful upon the mountains are the feet of him that 
bringeth good tidings, that publisheth peace that bringeth 
tidings of good." 

Thus in graphically poetic language the ancient prophet pre- 
sents a moving picture. 

Then the painter with colours on canvas, silently expressed 
the beauty of nature and the glory of life. 

And now the motion picture crystallizes emotion into thought 
and shows it in action. 

True art makes the ideal practical and the practical ideal. 
The truest representation of nature is the most perfect art. 
The motion picture gives more pleasure to the people of the 
world today than any other organized form of amusement. 

Providing amusement for the people is very serious and exact- 
ing work. 

The screen strives to give the people what they want, in a 
more perfectly advanced stage it will give them what they need. 

More people see the "Ten Commandments" on the screen than 
hear them expounded from the pulpit. 

That the chief of the motion picture organization gets a larger 
salary, for a longer term of years than the president of the United 
States, may raise a smile on the lips of the cynic, but it also 
creates a thought in the mind of the serious. 

People are more interested in the latest picture, and more 
eager to talk of its various thrills, than they are to discuss the 
most momentous religious problem or the latest political 
development. 

The responsibility of guiding this youthful art is very great, 
the mind is ennobled or degraded by that which is given to it. 




462 



Better Pictures 



ICTURES appeal primarily to the visual senses — to the 



eye. When the infant shows his first gleam of intelli- 



gence, we place before him picture books containing the 
crudest kind of pictures. As he grows up we give him better 
pictures to look upon. And so, finally, when he reaches the age 
of discretion, we see him standing before the masterpieces 
of the world, analyzing and sometimes even severely criticizing 
them. 

Now it seems reasonable to assume, that, having gone 
through a similar mental development collectively, the motion 
picture patron, the world over, is anxiously awaiting the long 
promised BETTER PICTURE. The law of evolution is con- 
stantly at work — pictures are improving and will continue to 
improve, particularly so, if the character man and character 
woman take the position in the cinema world which rightfully 
belongs to them. 

Pardon me, if I digress somewhat. The strength, the- back- 
bone of our entire civilization lies with the men and women 
over forty. In the industrial world we behold the "Fords," the 
"Edisons," Madam Currie, who discovered radium, and thou- 
sands of others, too numerous to mention here, — all over forty. 
In the legislative halls the world over we find men and women 
over forty, sixty, eighty, yes — even over ninety years of age. 
The majority of the celebrities of the speaking stage, in grand 
opera and so on ad infinitum — all men and women over forty. 

It is only for "screen" purposes that the services of the men 
and women over forty have not been sufficiently exploited. Of 
course we must have youth and romance, but the real things — 
the big things on the screen, as well as elsewhere, eventually 
will and must come through the efforts of the men and women 
who have lived and loved deeply, who have suffered. 

What a wealth of material for screen purposes there is to 
be found, for instance, in the lives of the great music masters 
and other great teachers of men. Time and space prevent us 
from going deeper into this, here and now. Suffice it to say, 
that BETTER PICTURES will not be made by merely erecting 
larger and more costly sets, — by using more beautiful and more 





JOSEF SWICKARD 



464 



THE TRUTH ABOUT THE MOVIES 



465 



expensive clothes, — by employing prettier girls and handsomer 
sheiks. In other words, the picturization of things physical — ■ 
material — will have to be supplanted with efforts more mental — 
spiritual, if the real BETTER PICTURES are to be made ; and 
one of the prime factors in bringing about this greatly de- 
sired result will be the increased utilization of the services of 
the character man and the character woman. 



Is a Dramatic School Helpful 
REAL training in any art is helpful, where the instruc- 



tor is capable and the student must honestly work. 



Unfortunately, so many charlatans have professed to 
teach dramatic expression, especially as far as the movies are 
concerned, that an aura of disrepute surrounds most of the in- 
stitutions which profess to teach motion picture acting. 

It is possible, however, and it is a matter of actual accom- 
plishment, to maintain a school for teaching motion picture 
expression, where the prospective students are carefully 
analyzed before admission is granted to them, where the instruc- 
tion is honestly rendered by recognized experts with definite 
achievement to back them, and where the pupil is graduated only 
after he or she has worked hard and given definite evidence of 
ability. Such a school is a real boon, not only to the individual, 
but also to the film industry which it serves, by returning to 
other walks of life those who are unfit for the movies, and by 
giving to the screen beginners who have already mastered the 
rudiments of their art. 






¥5 



¥5 



The Development and Importance of Motion 
Picture Music 

PROBABLY no single element has done as much toward pro- 
moting and popularizing music in America as the motion 
picture, and certainly, music has been one of the greatest 
aids in the development of the motion picture. 

Almost simultaneously with the dawning of the twentieth 
century motion pictures were first introduced, and following 
closely upon the production of the cinema, in the days of the 
"Nickelodeon," automatic pianos were installed to furnish en- 
tertainment during the many waits and to relieve the monotony 
of the grinding picture. In those days it was not infrequent that 
such joyful music as that old Italian song, "Funiculi, Funicula," 
was played as the accompaniment to a dramatic climax of an 
American tragedy. Later a pianist was engaged to play during 
scenes where it was especially important that the theatre patrons 
should experience the emotion of the scene depicted. Finally, 
the pianist played for all the scenes. Then trap-drums were added 
to produce effects such as locomotives, automobile horns, hoof 
beats and breaking glass; while the violin was added for pathos, 
or to enhance the effect of a love scene, or a tragedy. 

The next innovation in the motion picture theatre was the 
installation of the church organ. By this time the five-cent 
theatres had given place to more expensive ones, while the trios 
were succeeded by orchestras composed of five, six, eight and 
even ten pieces. The result was a transition in music. An at- 
tempt was made to fit the music to the picture and to portray 
the emotions depicted upon the screen. 

Motion picture theatres became numerous, with the better 
ones employing orchestras. With the success of the theatres the 
orchestras were enlarged, until today the orchestras range in 
number up to one hundred pieces. 

Fitting music to pictures became a real art. Cue sheets, sug- 
gesting suitable music to be played with the picture, accom- 
panied the films and were distributed by the film companies. 
Gradually the cue sheets improved and then piano scores for 
pictures crept into existence. 

With "The Birth of a Nation," scarcely a decade ago, the first 
musical score for orchestras was arranged for forty pieces, be- 

467 



LAURA LA PLANTE 



468 



THE TRUTH ABOUT THE MOVIES 



469 



ing fitted to the picture appropriately and accurately. Realiz- 
ing that well selected music greatly enhanced the value of the mo- 
tion picture, and literally gave voice to the silent drama, other 
directors were not slow in aspiring to the standard established 
by Griffith. They, too, had musical scores made to accompany 
films. Thus they created what might well be termed the musical 
their masterpieces, and often sent orchestras on tour with their 
cinema. 

A new field was open to composers, who began writing music 
solely for pictures, out of which grew a great industry. To the 
orchestra director, too, much credit is due, for to fit a picture, 
with its ever changing scenes, the music must be synchronized 
with the greatest care. By synchronizing is meant the exact 
timing of the accompaniment to the score, which entirely ob- 
viates the old time sudden stops and jarring changes in the 
musical setting. The musical selection for one scene must flow 
into and blend harmoniously with that of the next scene with 
no breaking of phrases or over-running of cues. Every number 
must fit the situation upon the screen to a nicety of detail. 

The finest music ever written is daily being heard by millions 
of people through the medium of the motion picture, for the or- 
chestral accompaniment of the picture constantly introduces 
themes from the master compositions. In addition to which, the 
ever popular concerts have become a fixed part of the program 
in the motion picture. 

Motion picture producers, having found the very great im- 
portance of music in arousing and developing the emotional gen- 
ius of their artists, constantly employ orchestras to play just 
such subtle music while the scenes are being photographed, 

Music has gone hand-in-hand with the development and ad- 
vancement of the motion picture industry, which ranks as one 
of the world's leading industries. We, who have watched this 
mighty progress with such great interest, realize that the time 
is not far distant when motion picture music will rank very fa- 
vorably with that of grand opera and symphony music. Beyond 
that, we of the present age can not conceive, but it is most grati- 
fying to know, that progress being an infinite law, we shall pro- 
gress in our chosen field, which knows no limitation. 




¥5 



Character Analysis for Screen Success 

SUCCESS, fame and fortune in pictures. Thousands of peo- 
ple the world over are being artificially aroused to such a 
pitch of enthusiasm that they feel that fame and fortune 
can easily be reached through the medium of the magic screen 
Enthusiasm is a good asset, if you keep it up long enough. 
But in pictures success is a fickle jade, and fame and fortune are 
elusive. It takes strong characteristics, good screen person- 
ality plus ability to even get a foothold in pictures; few stop to 
think of that. The fact that you have ability, also curls, and 
look like Mary Pickford, or that your features and actions are 
similar to some well known actor or actress, means nothing, for 
neither good looks nor homely features spell screen personality, 
or success. It is the outward manifestation from within that 
does the trick. 

Years of hard work and tears have marked the trail of suc- 
cess, before most of the stars of the screen of today gained fame. 
True, it does seem as if some of them jump to fame over night, 
but usually their record will show that they have been prepar : 
ing themselves not only months but years for the opportunity. 
The greater the fame the harder one has to work to sustain it. 

Everyone has a chance in pictures, regardless of the outward 
appearance or physique. However, to succeed you must have 
not only ability but a good screen personality and with the ma- 
jority a certain amount of sex appeal. Naturally the question 
is: What is screen personality? Screen personality — that elu- 
sive something that no one can be a success without. Can it 
be developed? Yes; some have it at the start, others develop 
it as they advance and improve in their work, while others allow 
it to lie dormant and never succeed. How can one tell if they 
have screen personality? A screen test to study, by impartial 
parties is the first essential, and remember, in action before the 
camera one must have & certain amount of sustained poise and 
conscious power, and give forth self expression instead of self 
impression, all expressed by a positive attitude of the mental 
and physical actions. If inwardly you are dull, listless, thought- 
less, wavering, uncertain, indifferent, fearful and thinking of 
yourself, you will photograph that way on the screen. The 
camera is merciless, it picks up the slightest flaws and weak- 



470 



THE TRUTH ABOUT THE MOVIES 



471 



ness. So, first of all, one must be full of enthusiasm and dead 
in earnest, and keep in mind that fear, timidity, and worry make 
one negative. They are due to the lack of self confidence. En- 
thusiasm is faith in action, it convinces and dominates. The 
basic principal of all success is self confidence. And self confi- 
dence begets conscious power and conscious power is self confi- 
dence in action. Don't follow the crowds. Be original. And 
remember that a quick temper is weakness, and that half of 
personality is the way you do a thing. To have personality one 
must have a positive individuality along certain lines. In the 
analysis of the principal faculties that go to make up a strong 
personality are, SELF ESTEEM, to give self confidence, self 
control and poise. FIRMNESS, to give stability and tenacity of 
purpose. APPROBATIVENESS, to give desire and ambition, 
COMBATIVENESS, to give courage. INDIVIDUALITY, to give 
observation and minuteness. AMATIVENESS, to give sex ap- 
peal. VITALITY, to give vigorous activity. They must also 
have constructive and initiative ability. There are other facul- 
ties but these are the principal ones. If you are weak in some 
of these faculties, they can be developed if you are in earnest, 
age to the contrary. 

The center of fear, afraid of failure and ridicule, sensitive- 
ness, thinking of self instead of what they are doing. Others 
try self impression instead of self expression. The egotistical 
ones fail because they are bluffing, full of boastfulness, over 
estimating. A lack of screen personality is usually due to three 
things. Fifty per cent self consciousness, twenty-five per cent 
egotism and twenty-five per cent laziness. Egotism, which is 
nothing more than perverted approbativeness, plays a big part 
in the rise and fall of stars. 





MADGE BELLAMY 



472 



The Movies— the Melting Pot 



NE of the most interesting features of the motion picture 



is the fact that it is especially characteristic of America 



in that it is pre-eminently the melting pot of the artistic 
world. Surely, this amalgamation of races is most typically 
American and just as surely the films present an opportunity 
for the actor of another race beyond that of any other line of 
artistic endeavor. 

Pantomime, the fundamental technique of the screen, is THE 
universal art; it appeals to all ages, all classes and all national- 
ities because it is within their comprehension and it possesses 
the universal appeal because it is art spoken in the one universal 
language. 

Of course, it is undoubtedly true that many foreign artists 
have gone into the films and have not attained the full measure 
of success for which they strove — that, however, was their own 
fault, and is explainable by their inability or failure, at any rate, 
to conform to American methods and psychology. On the other 
hand, we have seen numerous instances of foreign-born actors, 
directors and writers who have risen to the highest rung in the 
ladder of fame. Their success is due, first of all, to their innate 
talents and artistry — even more, however, to their adaptability. 
For they have added to their old-world training the American 
point-of-view, the national vigor and the race psychology which 
have made the United States a leader among nations. 

Thus again the films characterize concretely the truest 
American spirit. This country has been rightly likened unto a 
melting-pot, wherein the entire world casts its best and finest 
and the resulting amalgamation possesses the best of every na- 
tion fused into a homogeneous mass. So the films have drawn 
on the talent of the artistic world and, because of their funda- 
mental, pantomimic technique, they present the greatest op- 
portunity to the foreign-born actor. The screen, even more than 
any other form of artistic expression, is THE international 
medium ; because it need never go through the tortuous channels 
of translation, it is the one universal channel for the true artist. 





473 




Edzi in Bozcer Hesse'r 

CORIXXE GRIFFITH 



474 



¥9 



Are Visitors Welcome to the Studios 

T WOULD like to point out the fact that persons connected 
with the press and people having business with the industry 
are welcome to the studios as is the case with any business. 
But, opening the studios to visitors, to the thousands who come 
here daily, is another matter. They also would be welcome and, 
oftentimes, are welcome with sincerity and a desire to show 
them everything connected with the industry in which they are 
so much interested but it is well for the public to remember that 
this welcoming process is one which costs hundreds of thousands 
of dollars and much time. 

One of the curious things found was that souvenir hunters 
were rapidly rifling the studios. Articles were missed which 
were actually being used in sets and which delayed the action 
of the pictures in order to duplicate the articles taken sur- 
reptitiously as souvenirs. Vases, articles of personal wearing 
apparel, almost anything portable, was being taken and it was 
found that Hollywood was attracting the most clever souvenir 
hunters in America. Of course, taking a souvenir cannot be 
classed as theft but, nevertheless, the loss and the time and the 
delay brought about by this great pastime cost likewise thou- 
sands of dollars and, for these reasons, it has been very essential 
to curtail the number of visitors which formerly flooded the 
Hollywood studios. 

We believe that the American public will readily understand 
that the reason for this curtailment is not one of meanness or 
personal dislike but it is a question, purely and simply, of 
business expediency. The time lost by showing visitors about un- 
der official escort was enormous. The different parties coming 
each day at different times were escorted in their turn and, 
oftentimes, a director found it impossible to continue with his 
picture because of the questions asked, the necessity of ex- 
plaining, etc. 

The producers wish to assure you that, were it feasible, 
each and every studio here would be thrown open day after day, 
cheerfully and willingly, but that, for the reasons stated, it is 
impossible and they know you will understand those reasons. 




475 



1. Walter J. Israel 

2. Jack White 

3. Johnnie Walker 



4. William Collier, Jr. 

5. Mat Parker 

6. Hadyn Stevenson 



476 



¥9 



¥5 



The Critic 

N"0 PRINCIPLES of criticism have in recent years been 
more confused than those which pertain to motion pic- 
— tures as an art. Doubt has even been expressed as to 
whether film productions, because of their peculiar dependence 
on mechanics could be considered as a fine art, though in most 
respects they can. 

The critic is therefore faced with a most difficult problem 
in determining just how far he may go in the appliance of strict 
rules of esthetics to cinema entertainment. He has, moreover, 
to take into account a vastly larger audience who, by their very 
multitude, square and cube obstacles to understanding because 
of their differences in opinion and appreciation. 

Motion pictures, in the very beginning, were a definite and 
distinct departure and had nothing to do with the stage because 
they were looked down upon by the foremost stage actors and 
they had nothing to do with literature, because no author at that 
time thought of selling his wares to the nickelodeon. 

The motion picture camera grew dimly out of the still camera, 
or, perhaps, it might be more proper to say out of the kodak 
or animated cartoon, because there was nothing particularly 
posed about the cinema photographs in a pristine state. Later, 
when the movies commenced to grow up, they drew a tremendous 
influence from the stage; later still from literature, as repre- 
sented in a novel. Occasionally, too, directors derived a certain 
big inspiration from the plastic works of art, whether of sculp- 
ture or painting. 

The critic's viewpoint has had to keep pace with this develop- 
ment of motion pictures. He has had to decide between what is 
good and what is bad in the extraneous influences. He has, 
moreover, in the work of daily reviewing, to take into account 
first and foremost, what is entertaining and what is not enter- 
taining, because the success of pictures has so largely depended 
upon their popular appeal. 

As I see motion picture criticism, it is at the present time 
as conglomerate and at times uncertain as the exact function of 
the screen itself. That is, there are no rigid and unchangeable 
ideals upon which to base an estimate of any single production. 
The history of relativity was never more effectually carried out 

477 



478 



THE TRUTH ABOUT THE MOVIES 



in any art, be it music, painting, dancing or even the drama, 
than in relation to picture criticism. The real reason for this is 
that no fine and perfect concept of form exists in the cinema. 

Sometimes, in such a picture as "Scaramouche," one sees 
glimpses of an entirely new world, but it is almost wholly pic- 
torial; again, in something like "The Covered Wagon," one be- 
holds a vision epical; again, as in some of Griffith's features, 
there is tremendous drama; still again, as in "The Ten Com- 
mandments, " there is spectacle that is overwhelming. 

The conclusion is, then, that while pictures have drawn on all 
the arts for their inspirations and used music as their primary 
aid in stimulating emotion, they are, after all, perhaps, closest 
to literature in the varied ways with which they may treat of life 
when they attempt seriously to treat of it. They are very often 
a thousand times more illustrative than the book that the pub- 
lic buys in the bookstore. 

That is the state at present, and though we are still on the 
eve of further discoveries and unfoldments, I feel that this as- 
pect will prevail perhaps continuously for some years to come. 




* * * 



In any commercial line an applicant for a position is asked 
for references from previous employers and is engaged on the 
strength of those references. It is only at such times that the 
outsider gets a chance. If a new employee on a new job proves 
incapable, it is a simple matter to eliminate him without great 
loss; but not so in the production of motion pictures. Once on 
the film, action cannot be changed, and, if bad, must, at great 
cost, be retaken. Therefore, the hesitancy on the part of the 
average director in using someone he is not sure of. 



¥9 



¥5 



The Other Side 



CREEN fans, and, readers of "The Truth About the Movies" 



.^S will have learned everything there is to know about how 
to break into the films, how to conduct themselves and 
how to rise in the various branches of this marvelous industry- 
art. They will have learned, too, about the co-operation and 
assistance which is given to the beginner in every part of the 
field by individuals and by organizations built up for this pur- 
pose. But what of the other side of the picture — the boys and 
girls who come here, sure that they have within them the spark 
of genius which will make them stars on the screen or behind the 
screen — and then comes the ultimate realization that they have 
misjudged their ability and that there is perhaps a greater 
future for them in some other walk of life! 

For these, the only advice is to act boldly upon that realiza- 
tion. It is certainly true that "faint heart never won" big 
positions in Hollywood! But it is just as true that once a person 
realizes he is not for the films and the films are not for him, the 
best thing is to break away immediately. There are so many 
thousands in Hollywood who have come to this realization but 
who stick on, either through false pride or an unwillingness to 
tell their friends and relatives that they have failed, or wait- 
ing for the millionth chance to get into the charmed circle! 

It takes a lot of courage and a lot of nerve to break away 
from the movies after one realizes he does not belong, but it is 
a step in which lies the only salvation of the person involved. 
"Don't give up the ship" too easily; but if you are miscast, 
admit it. And if you have become fond of California, as most 
of us have who have lived here any length of time, it is well to 
realize that there are other industries, other opportunities and 
other fields of activity in California outside of the movies. In 
fact, there are, perhaps, greater opportunities in California than 
in most other places, because of the rapidity of the expansion 
of the various industries located here; so that no one who has 
the capacity and the willingness to work, can fail to rise, here 
as anywhere else. 

The Holy Grail of happiness is often found at our doorstep, 
although the most of us have to travel far afield before we 
realize that fact. ~ 




479 




ARLINE PRETTY 



meioourne ■ bpurr 



480 



Should Critics Be Caustic or Constructive 

HAS the motion picture critic any real place in the theatrical 
scheme of things? 
The value of the critic in any theatre is at best a moot 

question. 

Again and again the value of a criticism by professional 
critics has been derided, not in words but in facts themselves, 
and by the theatre going public. Plays, whether of the stage 
or the screen, have certain set rules to which they should sub- 
scribe. But they must have also an intangible something — 
whether you call it box office appeal, human interest, sex appeal 
or what — that draws audiences to the house in numbers. 

No theatre owner has as yet announced overflowing coffers 
because any critic declared the play a perfect piece of playwright- 
ing. Skill and craftsmanship are important in preparing stories 
for the theatre, but they are by no means the over-whelming or 
final consideration. 

And critics from their very professional attitude too often 
lose their grip on the normally human qualities which dominate 
the vast bulk of play-goers. 

But doubtful as the critic's value to the spoken stage, his 
importance in the motion picture theatre is even less. On the 
stage, his comment upon a certain bit of acting, upon the casting 
of individuals, or the introduction of a denouement or climax may, 
if worthy, be used to the advantage of the play. Actors are 
fluid, amenable folk, and even playwrights have been known to 
heed the suggestion that certain scenes are too long or lack 
sufficient stamina. The critic where the spoken drama is under 
consideration may therefore have a real constructive value to the 
realm of the footlights. 

But with the completed cinematic production criticism of 
any constructive value is almost impossible. The film is a com- 
plete entity. A re-arrangement of scenes or changes in titles 
are possible to be sure, but aside from that not even the most 
caustic criticism can be utilized by the producer. 

A critic may be ever so honest, even a deep student of mat- 
ters cinematic, and producers may recognize his ability along 
such lines, but a film once it is released for general distribution 

481 




482 



THE TRUTH ABOUT THE MOVIES 



483 



is about the most "finished" thing to be found in the world of 
art, or even of commerce. 

It is because critics recognize their inability to assist in any 
way whatever in the final perfection of motion pictures that so 
much caustic comment is written. A helpful, kindly criticism is 
of no avail. The picture is done, and the producer, however he 
may recognize the value of the suggestion, is unable to make 
further alterations. So in his next picture he may try to avoid 
the mistakes of the first one — but with every new play new 
mistakes are possible. That is evidenced on the stage, again 
and again. Noteworthy playwrights and producers have been 
known to achieve epochal failures in their first presentation of a 
play, which has frequently been re-moulded and re-cast and be- 
come a success. The very technique and mechanism of the films 
prohibits such work for pictures. 

Critics consequently conscious of the absolutely neutral value 
of any helpful suggestions, enraged by what seems in the final 
showing to have been egregious ignorance or banal stupidity, 
rushes to his pen with vitriolic purpose. Discouraged by the 
very finality of such a medium for story telling he turns his caus- 
tic comments loose not only upon the picture under discussion 
but upon all pictures. His gorge rises as he visions the futility 
where the screen is concerned of all his knowledge of dramatic 
construction, his sense of literary values in the titles, and his 
carefully cultivated sensibility to characterizations. 

If he curbs this emotion he ends by being a mere reporter of 
the film. Criticism as such is futile, he must therefore amuse 
his readers and relieve his own surcharged emotions with scath- 
ing comment, or he must resort to the flabby adjectivial report- 
ing, with a mere acknowledgment of the presence of the film, 
and a more or less intelligible suggestion of the purport of the 
dramatic theme. 




Editor Music and Drama, L. A. Examiner 



¥9 



Publicity and Exploitation 

PUBLICITY, exploitation and advertising comprise probably 
the most characteristic aspect of the entire film history. 
In the first place, this trio presents what might be con- 
sidered as the most important by-product in the film world out- 
side of the actual production of pictures ; in the second place, it 
has consistently kept at least t>ne stride ahead of the production 
trend throughout the history of the films. 

When the "motion picture magnate" was in the same status 
as the side-show owner, the film publicity man was of the same 
caliber as the side-show press-agent; he had the same type of 
mind, wore the same kind of checked suit and diamond horseshoe 
scarf-pin! As a matter of fact, although we may look rather 
tolerantly askance at him today, he was the right man in the 
right place at that time; and, incidentally, his knowledge of 
human psychology — both as regards the editors of newspapers 
from whom he was trying to get space and the general public 
to whom he was trying to sell his attraction — has never been 
surpassed. His zest for his daily stint and the glee with which 
he put over his stunts, are just as strong today in the hearts of 
the more dignified publicity, exploitation and advertising 
directors ! 

Fundamentally speaking, publicity, exploitation and adver- 
tising are all part of the same function: namely, merchandising 
the product to the public. Straight advertising is, of course, 
the simplest procedure; it involves the purchase of space in 
newspapers or other periodicals wherein the advertising man 
has absolute leeway in the use of his superlatives and can say 
anything he wants about his attraction or the players who pro- 
duced it. At first, film advertising was confined to the distrib- 
utors who sell the product and to the exhibitors who run the 
theatres where the public sees the pictures. The distributors 
used the trade papers within the industry, and the exhibitors 
used the daily newspapers in their respective localities. Of late 
years, the producers have come to realize that they can co- 
operate for the general weal by informing the public of their 
present product and future plans ; and with the distributors 
they have taken to advertising in periodicals with national cir- 



484 



THE TRUTH ABOUT THE MOVIES 



485 



dilation and in chains of newspapers scattered throughout the 
country — just building up the general good-will and interest in 
particular films and the particular product, which lays the basis 
for the local exhibitor when he plays that particular picture. 

The publicity man differs from the advertising man in that 
he does not buy space. His function is to write so entertainingly 
or to divulge such interesting news that the papers to which he 
sends his stories will print them because they are sure to interest 
the readers of the newspapers, and hence deserve space on their 
own merits. The publicity man's field is the entire world — he 
may work for a producer, a distributor, an exhibitor, or often for 
a combination of people, which may include representatives from 
every class within the industry — such as producers, directors, 
stars, leading players, cinematographers, art directors — and so 
on, through the entire gamut of the film personnel. 

The publicity man of today is a recognized factor, and an im- 
portant one, in the film world. Every person within the motion 
picture industry knows his value and knows that he must co- 
operate with him for his own advantage. Usually, the publicity 
man has been trained on a newspaper or magazine so that he 
appreciates the periodical's needs, as well as the desires of his 
employers; and therefore can co-operate more extensively and 
readily with the editors with whom he is constantly endeavoring 
to "plant" his own material. It is only by serving both of these 
classes that the publicity man can really succeed in his work; 
because it is only in this way that he is serving the public, which 
is fundamentally his master — as it is the master of everybody 
who works in the motion picture field — and giving that public 
the entertainment which it desires and must have to fill out its 
life. 





Eugene Robert Richee 

PERCY MARMONT 



486 



¥9 



¥5 



Observations of a Lesser Light of Filmdom 

r^O any new comer who is thinking of entering the business, 



I would say be prepared to overcome many obstacles and 



think a long time before embarking on a Picture Career, 
for it is not a life of honey, peaches and cream by any means. 
Be prepared to spend about six months on the average getting 
acquainted and established — time depending on one's personality 
and ambition. A good wardrobe is a very important item in 
working on select "atmosphere" sets. There are really 200 to 300 
people who can be called of the available well dressed class for 
sets of every description, paying at least $7.50 and occasionally 
S10.00 per day and that class is established, usually works thru 
one central principal agency and they are really making a fair 
living all year around in the Picture Business. It is very, very 
seldom that a future star or success is picked from an atmos- 
phere set. One must find time to ask for and take screen tests. 
As often as possible, one has to meet the right people and one 
must principally have a good business head and ability to sell 
themselves. Being able to sell oneself will do more than any- 
thing else other than personal acquaintance to get one on the 
road to success, I think. 

The average extra person working in the 300 refined class, 
who has been working for a year or more, usually gets into a 
rut and is too easily contented to go on taking extra work and 
being satisfied ; usually losing what ambition they had when first 
starting out. 

Many a capable, talented, and good looking extra person who 
has been deserving an opportunity has not had it and been kept 
at extra work because usually the Casting Director or Director is 
skeptical and reluctant to gamble with a person who has been 
associated with extra work too long, and, strangely, very often 
would rather take a person of practically no experience at all. 





437 



^9 



¥9 



What Is the Wampas 




HAT is the Wampas? 

This question has been asked by countless hundreds 



of people. Is it some weird insect ? Is it an animal re- 



cently discovered? Is it one of Louis H. Tolhurst's microscopic 
actors ? 

The Wampas is not a bug — not an animal — not a microscopic 
insect! It is an organization of human beings. 

Four years ago, at the Ambassador hotel, Los Angeles, a small 
group of publicity representatives of various screen stars, thea- 
tres, and motion picture studios, met to discuss the possibility 
of forming an organization consisting of members of the press 
agent fraternity. 

There were but a handful at this initial gathering. Today the 
Wampas consists of every publicity man of every studio, stage, 
star and theatre in cinemaland of the West. 

I say cinemaland of the West, because on that other Broad- 
way, some three thousand miles away, there is another organiza- 
tion of publicity men representing the stars and theatres and 
picture activities of the East. They are the AMPA. 

The word Wampas is a coined word — a short catch-line word. 
When spread out into its real meaning, it stands for Western 
Motion Picture Advertisers. The AMPA, when denned, means 
Associated Motion Picture Advertisers. The constitution of each 
organization is almost the same and a spirit of sincere friendship 
exists at all times between the two units. In fact, many of the 
resolutions passed by the organization are oft times referred to 
each body for consideration. 

The motive for the organizing of the Wampas was a thought 
that the publicity men, if linked together in a congenial body, 
could express their thought, their ideas, and their suggestions 
in general — that they could meet at debate — discuss issues per- 
taining to their work — that they could build their ideals on 
firmer foundations and plan constructive work for their depart- 
ments — one of vital necessity to the motion picture industry. 

One is prone to feel, perchance, that in press agentry, there 
is bound to be opposition and that members are bound to vie 
with each other for stories and publicity about their direct inter- 
ests. This may be true to some extent, but the formation of the 



488 



THE TRUTH ABOUT THE MOVIES 



489 



organization bearing the title Western Motion Picture Adver- 
tisers has done more for the industry than the lay man and even 
the producers and studio executives themselves can or ever will 
realize. 

There now exists a feeling of comradeship between each and 
every member of this organization. There exists a feeling of co- 
operation — a brotherly feeling. One member has an idea. He 
needs assistance — the aid of another studio or star, whichever the 
case may be. There exists no barrier between him and that goal 
— he is immediately recognized in his operations, and is aided by 
his brother press agent. 

The membership of the Wampas is some seventy men— all 
young, ambitious lads, each seeking to do his utmost for his par- 
ticular star or studio. Their meetings are twice monthly and at 
these meetings, the biggest powers in the land of finance, in- 
dustry, accomplishment, meet and talk on topics that are near 
to the hearts of the membership. It is safe to say that every 
important man in the motion picture industry — in the banking 
world — in the civic activities of the great West, has at some time 
appeared at a Wampas meeting, and given forth his views and 
suggestions, that the Wampas members might profit in their 
daily work. 

It is truly a wonderful combination — this organization of 
Western Motion Picture Advertisers. Harmony and co-operation 
are the keynotes of this band of young men daily publicizing to 
the world/ the activities of the third greatest industry — the mo- 
tion picture. The Wampas is four years old. In those few short 
years, it has accomplished much. May it prosper always and 
may it always be the splendid organization that it is today. 





490 



¥9 



^5 



My Trip to Hollywood 



WO and a half years ago, when I decided to go into 



pictures, I bought a ticket to Hollywood, thinking that 



all I had to do was get there and go to work immediately. 
But, upon my arrival I found it a different story. 

Not knowing a soul and believing that I was a star already, 
I stopped at one of the best hotels, paying six dollars a day for 
a room. I did not have an automobile, and as most of the studios 
are some distance apart, making the rounds of all of them in a 
taxicab was quite expensive. I kept up this expenditure for 
about four months. Not receiving the expected contract, my 
funds were beginning to dwindle. I decided to rent a room for 
five dollars a week, which I realized I should have done in the 
first place to economize. 

Newcomers in Hollywood have to know everyone from gate- 
man to producer before they can ever get into a studio. I was 
here two months before I saw the inside of one, because all the 
progress I had made up until that time was the casting office win- 
dow, where every day I would meet with the same disappoint- 
ment, "NOTHING TODAY." 

Finally the telephone rang one day and I was requested to 
be at the United Studios, made up, at eight o'clock. I was so 
excited I forgot to ask them how much money they were paying. 
The next morning I arrived at the studio eager and happy. I 
worked all day in a mob scene with hundreds of other people, 
that night receiving seven dollars and a half for that dreadful 
day's work. When they handed me the money I just stood and 
stared at them. I found out then that I was nothing more than 
a plain "extra." I met with the same disappointment that thou- 
sands of others had met. That night I decided that it was harder 
to work as an actor in a studio than it was to lounge hi a nice, 
comfortable seat in the home-town theatre and watch the fin- 
ished product. To me it had looked as easy as falling off a log. 

I worked as an extra for months and months. One memor- 
able day, out of a mob of sixteen hundred people on the Metro 
lot, Rex Ingram picked me out to carry in a tray in one of the 
scenes being "shot." I thought I was "made" right then. After 
the scene was finished I was told to get back into the mob again. 
I was rather disappointed because Mr. Ingram did not even find 




491 




Evans 

KENNETH HARLAN 



492 



THE TRUTH ABOUT THE MOVIES 



493 



out my name. But he HAD noticed me and that made me happy. 
A few weeks later Maurice Tourneur's assistant, Scotty Beal, 
gave me a "bit" as a newsboy. In Mr. Tourneur's next picture 
I played a bigger "bit." 

Small parts followed "bits." Slowly but surely I was being 
noticed by all the directors and their assistants, until at last 
John Griffith Wray picked me to play the part of Young Chris 
in "Anna Christie." The company went to Catalina Island on 
"location" and I worked a whole week for that picture, the long- 
est period I had worked in one picture in my screen career. 
When the picture had its first showing in a downtown theatre, 
I invited my friends to see it with me. Imagine my dismay and 
the humiliation I suffered — for when the picture was released 
my entire part had been cut out. 

It's darkest just before the dawn. My dawn was in the form 
of a stern-faced man, Finis Fox, for he gave me the part of Allan 
Hilborn, the young evangelist, playing Mae Busch's son in "The 
Woman Who Sinned," an original story from his own pen. It was 
the biggest part I had ever played. Immediately after that I 
worked for First National in their big picture, "Sundown." I be 
gan getting fan mail at this time and it helped a lot in dim- 
ming the heart breaks of my early struggles. 

My advice to those who seek screen careers and come to Hol- 
lywood to try their luck is to be ready to face two or three years 
of the most heartbreaking times of their lives. Keep in mind 
the few hundreds who have made good and of whom we read 
daily and of the thousands that we hear nothing about. I am 
sure that most of them will prefer their comfortable homes with 
their families and friends than the struggles, bitter disappoint- 
ments and loneliness they meet trying to get into pictures. 

Before venturing to Hollywood screen aspirants would do 
well to first try some stock company near home to find out if 
they can act or not. If one makes good on the stage there is a 
possibility of screen success. 

The best advice I can give is to respect that ideal of you 
that the public holds dear in LIVING CLEAN and THINKING 
CLEAN. 

Don't get discouraged. It is often the last key that opens 
the lock ! 




How Wampas Baby Stars Are. Chosen 

A NUMBER of people have asked me how the Wampas 
choose their Baby Stars each year. I will try to give my 
understanding of the Baby Stars and the manner of 
choosing them. When the time comes to choose the Baby Stars 
every available young woman player is considered, first from the 
standpoint of dramatic experience; then as to beauty and figure 
and youth ; then as to background. 

To be a Wampas candidate each girl must screen well. She 
must have brains and she must have education. The reason for 
these requirements is the fact that the Wampas selections are 
supposed to become stars in their own right within the ensuing 
year. All of the candidates must have played a number of good 
parts, even starring roles. There must also be the assurance 
that some big producing company is behind and will give her 
the necessary opportunity to advance. 

The 1924 Baby Stars were Elinor Fair, Clara Bow, Blanche 
Mehaffey, Hazel Keener, Marion Nixon, Alberta Vaughn, Car- 
melita Geraghty, Julanne Johnston, Lucille Rickson, Gloria 
Grey, Lillian Rich, Dorothy Mackaill, Ruth Hyatt and Margaret 
Morris. 

So important has become the selection of Baby Stars each 
year that big producers eagerly grab up the Wampas selections 
whenever they are available. The word Baby Star itself has 
become a trade-mark of great promise among the young women 
picture players. The Wampas not only imposes a great obliga- 
tion on itself in making selections but they hand down this 
obligation to the Baby Stars themselves. These girls work 
doubly hard, not only to make good for themselves, but to justify 
the confidence the Wampas has in them. 

The Baby Star selection is the hottest event of the year in 
Los Angeles and throughout the picture business. After a year's 
study and investigation the qualifications of all the candidates 
are tabulated and placed before the members and a number of 
ballots are taken. The thirteen girls that receive the highest 
number of votes are elected Baby Stars. 



495 




¥5 



The Branch That Thought It Was A Tree 

("Someone, in some organization, wrote the following mes- 
sage on loyalty. Someone in a big motion picture company 
read it — somewhere — and sent it on to the head of that com- 
pany. A little later, a copy of it was sent to the head of every 
department in that company, with a request that it be read by 
every member of each department. Tt was read by every mem- 
ber. It is worth reading — that is why we are reprinting it.") 

IT HAD every right to be proud of itself — this grafted branch. 
In the blooming season, its flowers were large and the 
creamy petals red on the edges, while the other blossoms on 
the tree were small and scraggly, and a dirty-white. 

When autumn changed the flowers to fruit, the apples on 
this branch were big, deep-red with hearts as white as snow. 
And the branch, seeing this, was swollen with pride. "Why 
should I remain a part of this poor tree ? I give more fruit than 
the rest of the branches combined. I will be a tree unto myself, 
that men may know me, and give me credit for my fruits." 

The next time a strong wind blew, the branch strained and 
pulled and twisted, and finally tore itself from the tree. The 
tree bled at the wound a little time, but the gardener came along 
and grafted another branch in the place. 

But the branch that tore itself away died very quickly. It 
did not realize that the sap— the life-blood that gave it health 
and strength to produce — came from the roots of the tree. The 
branch could not see that because the tree had other branches, 
it was able to drink in more sunshine and rain — that all 
branches drew life from the soil and air and gave it gladly, that 
the one branch could flourish and produce much fruit. So, the 
grafted branch that thought it could be a tree, died. . The tree 
lived on. 

There are men who draw the very life-blood of their inspira- 
tion from the organization of which they are a part. They pro- 
duce great works and are blind to the sources of their power. 
They know that what they produce is better than is done by the 
men at the next desk or the next branch — better, perhaps, than 
any man in the whole organization can make with his hands and 
brain. 

Happy is the man who can see, in the result of his efforts, 
more than an isolated personal achievement — who can view the 
organization of which he is a part, as a whole — who can see 
down to the root of it, and know that from these he draws the 

496 



THE TRUTH ABOUT THE MOVIES 



497 



strength and ability to achieve. He will not be torn away by 
the first gust of passion or pride. He will hold fast to the tree. 
He will become as much an integral part of the tree as any 
branch of it, and know that the fruits of his labors are the 
fruits of the tree, that every leaf on every branch, every root, 
be it as fine as a hair, helped him to bear the fruit. 

* * * 



College Boys and Girls in Pictures 

THE average motion picture producer and director are agreed 
that the success of a picture depends upon the "big names" 
in the cast. 

This conclusion has locked the door of opportunity to so many 
of the ambitious and talented boys and. girls who are earnestly 
striving to carve a career in picturedom. 

I do not believe that the old experienced actors and actresses 
can make up to represent the real college type. I am giving 
preference to high school boys and girls and I believe they 
deserve it and will make good. 

Since the love interest in my productions are purely "puppy 
love," I believe that picture-goers will agree with me that young 
and inexperienced actors are superior to older and more sophisti- 
cated artists. A sophisticated face in such a cast would, without 
doubt, detract from its merit and make the interpretation of the 
story unnatural. 

Each story features an athletic event as well as a "puppy 
love" affair. To make these stories logical I am seeing to it that 
the leading man does not win both the athletic trophies and the 
girl's affections. 

If he wins the cup he loses the girl. On the other hand if 
he wins the girl he must be satisfied to see his competitor walk 
away with the trophy. 

Too many story writers and producers give everything to 
the featured player, including success in affairs of the heart as 
well as things financial. The ups and downs of life convince the 
picture goer that such hero stuff is illogical and unwarranted 
and tends to discourage the audience with its own walk in life. 
Quite naturally it can't help turning a great many picture fans 
against the members of the industry. /y 




498 



¥5 



¥5 



Serials and Otherwise 



HE cowboy in pictures is the very backbone of the industry 



— because Westerns are the most popular form of ehter- 



A tainrnent on the screen today. Westerns, according to the 
popular notion, consist of some well-known star of this form of 
play, a few riding thrills, a romance, and a lot of excitement. 
And the star gets the credit as a rule. People have come to look 
on the band of cowboys behind the Western star as mere "atmos- 
phere" and seldom if ever differentiate between the cowboy and 
the ordinary extra. 

The cowboy is in a sense an extra — atmosphere — but to 
qualify for this form of extra work he must be a specialist — 
an expert in horseflesh. There are very few Western stars who 
can do half the things on horseflesh that their cowboys can do. 
There are very few Western stars who know how to look after 
their horses; who can cure them when they're sick, and keep 
them healthy when they're well. 

I would be nowhere without their help and their teaching. 
I have to throw myself on the mercy of Bill Gillis, with his 
knowledge and riding skill; I have to listen avidly to such 
pearls of wisdom as Slim Cole or Frank Rice can, out of friend- 
ship, let drop for me ; I have to hunt up Art Manning, that king 
of range riders, when I am in a quandary; and so with the rest 
of the ranch riders. Luckily for me the boys are my friends 
and help me — otherwise I wouldn't be long in Western pictures. 

The Western star who wasn't trained on the range may be 
a great hit in pictures — but the cowboys behind him are the 
men to whom he owes his success. The men behind the West- 
ern play are such men as Bill Gillis, Alton Stone, Jack McGirvin, 
"Goober" Glenn, Jim Whittaker, Slim Cole — the boys whose 
names aren't on the cast, but whose riding does the real work. 

And, incidentally — in the "Hunchback of Notre Dame", the 
big thrill was the army of armored horsemen who dashed into 
the square and saved the Cathedral from the mob. And those 
riders — who made the biggest thrill in the biggest play in his- 
tory — those were the same cowboys who make Western pictures 
what they are ! 




WILLIAM DESMOND 



499 



¥9 



Good Publicity, Like Art, Conceals Itself 

A GOOD publicity man makes you think of one thing by 
suggesting something else. The man who familiarized 
the world with the stability of the Rock of Gibraltar was 
a good publicity man. 

Publicity is a commercial commodity. Two-thirds of the 
inhabitants of the world depend upon it for their livelihood. 
They had famines and earthquakes in Japan and China a hun- 
dred years ago. No one outside knew about them, so the people 
died. Today, with the aid of publicity, funds are raised to help 
the victims of catastrophies. 

A hundred years ago men had boat races, horse races, box- 
ing matches and chess competitions. A few hundred people 
knew about them. The races today and the boxing matches are 
not really more interesting or more important. But publicity 
concerning them interests a few hundred million people and 
magnifies their relative importance. 

Publicity changes luxuries into necessities. Clever publicity 
also convinces one that many a necessity is luxurious. 

Publicity writers, as a rule, are newspapermen. They might 
be termed the entertainment committee of the Fourth Estate. 

When their entertainment grows uninteresting they no 
longer conceal their art. 

No one can do anything without a supply of publicity. The 
bigger the thing, the more publicity it requires. Publicity 
makes it possible to manufacture goods in Boston which sell in 
Australia. It also makes it possible to catch people in London 
for crimes committed in Timbuctoo. 

Publicity is a law of nature. There is nothing in the sky, 
on the land or in the water which does not advertise its presence 
in some way. Mankind has developed publicity into a fine art. 
Even shrinking violets are widely known because of their 
shrinkage. Men and women who put all their energies into not 
being heard of, invariably are publicized, along that line. 

If you had to start again with empty hands you would be 
forced to depend upon publicity of some kind to advertise your 
existence. 

Motion picture publicity is in a distinct class. It deals with 
personalities and pictures. If it is to achieve useful results it 

500 



THE TRUTH ABOUT THE MOVIES 



501 



must be truthful. Truth may be either interesting or not, 
according to the manner in which it is presented. Because of 
its nature, motion picture publicity is picturesque. 

Through its publicity channels, the "silent drama" speaks 
with a <strong voice. 

More people are interested in the movements of picture play- 
ers and the making of pictures than in the national debt or the 
state of the money market. 

Motion picture publicity satisfies a universal demand for in- 
formation about the world's most colorful industry. Daily it 
fills hundreds of columns with news and pictures. 

Advance publicity on pictures creates pleasant anticipation. 
When a hundred million people enjoy the thought of seeing a 
picture several weeks or even months before it is released, 
motion picture publicity has accomplished more than enough to 
justify its existence. 




West Coast Publicity Director 

^ % 



The next step in picture development, says B. P. Schulberg, 
is the making of specialized productions for showing in certain 
localities only. The problem play may be made for big city 
showings only, the wholesome American drama may be made 
for general showings in the smaller cities and towns, while 
children's plays will be found in play houses devoted exclusively 
to the entertainment of juveniles in the near future. 



Hollywood — the World's Most Maligned City 

WITHIN its walls some of the most popular men and 
women of the world — the thousands of actors and 
actresses who entertain millions of people year in and 
year out — it is natural that the eyes of the world should be 
turned upon it. 

But in this interest which it has aroused lies also its danger 
— every piece of news is magnified out of all proportion— because 
it happened in Hollywood. There is no news in a quiet home 
life — little interest in its thousands of magnificent homes and 
gardens, its great school houses and healthy pupils, its churches 
and institution of culture. 

Hollywood has a great responsibility and it realizes that. 
It has no room for wasters and no time for wasting. Work is 
to be done — work which must stand the test of comparison with 
the finest of all countries. 

It is the workshop from which the world gets the most of 
its entertainment and pictorial art. Within its walls live men 
and women of culture from all parts of the world. It is the 
home of directors, of writers, of artists, actresses and actors. 

Other arts than the cinema have made their homes in Holly- 
wood. Chaliapin, the opera star, has bought a tract in Holly- 
wood. Prince Troubetskoy, the painter-sculptor; Mrs. Leslie 
Carter, the famous actress; Charles Wakefield Cadman, the 
composer — these have traveled about the world and chosen 
Hollywood as their home. Some of the world's greatest finan- 
ciers — men of vision and action — have visited us — and stayed. 

I have seen much of the world. I have heard the praises 
sung of the Mediterranean. Even those beautiful sunny lands 
have failed in comparison with the wonders, of Hollywood. Its 
wonderful climate has made it the land of magnificent homes 
and gardens as well as of studios. 

Men and women who have work to do, who have ambitions, 
homes and families, bar the door to the wasters who would 
bring ignominy upon themselves and their community. 




503 



Motion Pictures and the Radio 

MOTION pictures and the radio must co-ordinate. It is 
logical that they should, for the one is "sight unheard" 
and the other "sound unseen." Each is an art in itself 
and yet, like all of the great arts, one can help the other. 

There was a time when the belief among the studios was that 
radio would injure motion pictures, but this time is past. They 
are now working together for the greatest good as is proven by 
the fact that most of the great artists are lending their talents 
to broadcasting. The value of radio to the motion picture indus- 
try is easily understandable if one knows the numerous fields 
reached by the broadcasting stations. One of the best-known 
directors in Hollywood said: "While ability is absolutely neces- 
sary in the cast of a picture, it is publicity which puts the picture 
over." Proof of this is seen in the enormous amount of money 
spent in familiarizing the public with a picture both before and 
after it is released. Now stop to think that each evening when 
the broadcasting stations in this country go on the air, every 
word spoken is heard by more than twenty-million persons, and 
this number of listeners-in is growing by leaps and bounds. 
What would it cost in dollars and time to get the name of a 
picture or an artist to this many people by any other means than 
radio ? 

You may answer the above by saying: "That may be true 
for the producer or the artist, but how about the exhibitor? 
Does he not lose out through the public staying away from the 
picture house to listen to their radios?" The answer is — not if 
the motion picture industry will co-operate with radio, for the 
public will be all the more anxious to see the picture of the 
artist whose voice they have heard over the air. 

To prove that the statement in the last paragraph is not 
mere supposition or theory, let us quote a specific instance. Just 
one year ago the Los Angeles Times broadcasting station, known 
as Radio KHJ, put on a program known as the "Sandman's 
Hour." This forty-five minute program has been broadcast 
from this station every Tuesday evening since that time and 
the theme of the "Sandman's Hour" revolves around little 
"Queen Titania of Fairyland" who comes to earth for this period 
to talk to mortals. Such intense interest was aroused through 

504 



THE TRUTH ABOUT THE MOVIES 



505 



the program broadcasted by this six-year-old, that she has be- 
come known all over the country as "The Mystery Child of 
Radio." Letters are constantly pouring in, expressing the en- 
joyment which Queen Titania is bringing to the world. Over 
ten thousand letters are now on file, with each day bringing 
more and more. These letters are from all over the world, such 
places as Hawaii, Philippines, Samoa, New Zealand, Australia 
and, in fact, practically every civilized country has been heard 
from. 

Not long ago, Ivan Kahn completed a picture entitled "Satur- 
day." The company making this picture had a cast composed 
entirely of children, headed by Radioland's beloved "Queen 
Titania." This picture was previewed at one of the Hollywood 
theatres. Did the public say "We will not go to see the picture ; 
we will stay home and listen to the radio"? They did not. One 
hour before the doors opened, the street in front of the play- 
house was jammed with people. When the house had been 
filled to capacity for the first show, there were enough people 
still in line to fill it again, and they waited. After the second 
capacity house had been filled, there were still about six hun- 
dred people who were turned away, and the management asked 
if they might run the picture again the following day. This is 
just one instance of why motion pictures and radio should co- 
operate. If more proof is required, just ask Monte Blue why 
he is the guest announcer at one of the Los Angeles broadcasting 
stations, very frequently. 




* * * 



To the small-town girl, and her sister from the farm, go the 
honors for attaining the greatest success on the screen. A 
study of the records in the offices of Hollywood's casting direc- 
tors shows that eighty-two per cent of the successful stars have 
been born on farms or in towns of under 10,000 population. 



1 . Florence Lee 

2. Arch Reeve 

3. Jack Sullivan 



7. Vera Reynolds 



4. Irvin Willat 

5. Ruth Stonehouse 

6. Paul Gerson 



506 



¥3 



On Location 

I KNOW of nothing I would rather do, and at the same time 
rather not do, than produce a picture fifty or one hundred 
miles from civilization. 

Probably the best method of describing how a location pic- 
ture is made will be to take one production and go through it 
from beginning to end. 

The best picture I can think of for an example is the one I 
have recently completed, "North of 36," which was written by 
Emerson Hough and made entirely away from the studio. 

The very first thing to be done on a picture of this nature 
after the script has been completed, is to secure the locations. 
This is done by several men from the location department, to 
whom the director or producer explains exactly what are the 
requirements. 

In picking a place away from civilization, a location man 
must ask himself eight questions: 

How about transportation facilities? 

Is there water nearby ? If so, is it free from harmful 
bacteria ? 

Where can the people be housed? 

Will the scenery photograph favorably? 

How about the climate? Is it healthy? Is there enough 
sunshine for photographic purposes ? 

What will it cost to transport the company and studio equip- 
ment to the spot? Are the general surroundings in keeping 
with the story? 

About a week before production on the picture is scheduled 
to start, a man from the studio is sent ahead to arrange for the 
"extras." These are almost always engaged locally. 

In picking the featured cast for a picture to be made on 
location, three things must be kept in mind. First, the persons 
must be the right type for the story. Second, they must be 
able to act. Third, which is most important of all, they must 
possess the stamina to endure hardships. A location is no 
place for a temperamental actor or a butterfly actress 

On location it is frequently necessary to sleep on the bare 
ground, with nothing more than an army blanket for cover. 
Food is usually purchased in the nearest town and hauled out 

507 



508 



THE TRUTH ABOUT THE MOVIES 



to the camp on trucks or, if there are no roads, on pack-horses. 
A cook is usually obtained from someplace in the neighborhood 
and a mess tent is set up. 

Meals are served on rough board tables. Long benches take 
the place of chairs. As a general rule there are two rows of 
tables — one for the director, assistant director, scenarist and 
the featured players, and the other for the extra players, elec- 
tricians and propertymen. 

"Shooting" starts at sun-up and continues throughout the 
entire day until it gets too dark for effective photography. Due 
to the bright lighting in the open, very little make-up is neces- 
sary for the actors. A great many of them do not use any. 

At night, most of the company gather around and swap 
stories — the electricians tell of their experiences on other loca- 
tion trips, the actors tell adventures of their barnstorming days, 
and natives relate incidents of the locality. If the company 
happens to be staying in or near a town, everybody goes to the 
theatre. 

There are a million and one discomforts and things that go 
wrong on every location trip. First, the minute one gets away 
from the studio, one discovers a dozen things that have been 
left behind and which it is impossible to duplicate. They have 
to be sent for. This is true of every location trip. It is not 
due exactly to mismanagement. It would happen with the most 
infallible man on earth. 

Then, when one gets ready to "shoot," the weather will go 
bad. If a storm is needed, the sun shines; if favorable weather 
is necessary, a regular cyclone usually appears and blows every- 
thing down. 

By a strange misfortune, most of the really big pictures 
have to be made under conditions almost unbearable. 

I completed my last picture — I said it was absolutely final — 
that I would never budge outside the studio gates to make 
another picture. But yet in my heart I know that if I were 
asked tomorrow to start work on a location picture, I would 
probably say "Yes." 

There's something about it that fascinates me. 




Paramount Director 



¥9 



Some Interesting Questions Answered 

WHAT is the motion picture attendance in Southern Cali- 
fornia? 
The records of the income tax collector for this district 
show that 226,100,000 persons go to the movies in Southern 
California in the course of a year. This means that $39,900,000 
was paid into the motion picture houses of Southern California 
for that period. The tax paid to the government was $3,325,000 
for the year. 

How many persons in the United States attend the movies 
very day? 

It is estimated that 15,000,000 persons go to the movies every 
day in this country. 

How many motion picture houses are there in America? 

There are approximately 17,000 motion picture houses in 
the United States. During the year, their receipts are about 
$800,000,000. 

In the making of motion pictures, how many persons are 
employed? 

From 15,000 to 30,000, varying according to the state of activ- 
ity. These are the figures for Los Angeles. About 70 per cent to 
80 per cent of the pictures are made in Hollywood. The numbers 
employed are proportionate. I am, of course, referring to Amer- 
ican made pictures. 

What proportion of these people are employed in the differ- 
ent departments? 

It would be impossible to answer the question as to what 
proportion are employed in the different departments which are 
as follows : Sales and exploitation, mechanical, artistic, which in- 
cludes actors, directors and the studio executive end, sometimes 
in the artistic, according to the picture. Some pictures require 
enormous mobs of actors ; sometimes, only a handf ull. For the 
same reason, it is not possible to answer the question as to the 
division of costs between the mechanical and artistic end. If you 
include the costs of sets, then the mechanical is usually larger 
than the cost of hiring the actors. Sometimes, it is vastly more, 
as in the case of single sets that cost from $40,000 to $50,000 and 
are used by only a few actors, as the redwood forest in De Mille's 
"Adam's Rib." 



509 



510 



THE TRUTH ABOUT THE MOVIES 



How many people in Los Angeles alone have tried to get into 
the movies? 

At a conservative estimate, 200,000 people in Los Angeles 
are trying or have tried to get into the movies each year. Prob- 
ably not more than one in five hundred is really equipped for the 
screen and not more than one in a thousand finds the opportunity 
and makes good. The chief drawback of those trying to break in 
as actors is lack of real personality. There are many who are 
sufficiently well equipped with good looks but lack the sacred 
spark. 

What is the .cost of a five-reel picture? 

At a conservative estimate, the average cost of a five-reel 
picture is $100,000.00. 

A picture of the type of "Robin Hood" will run from $300,000 
to $1, 000,000. A great deal of luck enters into the cost of these 
super-features. If the big mob scenes happen to go wrong, 
entailing re-takes and additional time spent, the costs will soar. 
Generally speaking, the bug-bear of every studio is loss of time 
due to delay and accidents. It is impossible to anticipate these. 
One of the big elements of cost is overtime, paid to mechanics 
when unforeseen emergencies occur. 

What type of picture is most popular with the public? 

Out of eighteen pictures that were recognized as being unusual 
successes last year, I believe that something like six were serious 
in tone — that is to say, of unrelieved seriousness. The public 
wants comedy dramas — good love stories with thrilling action, 
relieved by comedy situations. Generally, a successful picture 
must be a correct mixture of love, excitement and laughs. 

What is the percentage of artistry and idealism in pictures? 

The idea of every high minded producer is to make his pic- 
tures with as much artistry and idealism as the public will coun- 
tenance. It must be taken into consideration, however, that we 
have to encounter audiences of many differing tastes and beliefs. 
Just as far as we can, we try to give them better and better 
pictures. I dare say there is not a producer in the business who 
is making the kind of pictures he would like to. But we can 
go no further nor higher than the public will follow us. If we 
were making pictures solely for money, we wouldn't be in this 
business because there are many other ways to make money 
without so much risk. It is essentially a speculative enterprise 
with just as many chances for ruin as for success. 



THE TRUTH ABOUT THE MOVIES 



511 



What effect does the Board of Censors have upon pictures? 

The biggest hindrance to making good pictures is unreason- 
able censorship. 

Will the pictures ever be removed from Hollywood? 

There will always be fluctuations of the motion picture 
studios. It seems unlikely, however, that production will ever 
be taken away from Hollywood. The reasons for this are: Ad- 
vantages of this climate, the fact that the manufacturing end 
of the industry is planted here as steel is in Pittsburgh and auto- 
mobiles in Detroit. Actors like it better here. Many of them 
have bought homes and it would work a terrible hardship upon 
them to shift the production center. 

Will pictures continue to be distributed from the Atlantic 
seaboard? 

As long as something like five-eighths of the motion picture 
houses are located in the eastern part of the United States, it is 
likely that pictures will continue to be distributed from the At- 
lantic seaboard. Great strides are being made in the financing 
of pictures on the Pacific Coast. The advantage of this is that 
the banks can keep in close touch with the actual work of pro- 
duction. Out here they know which studios are run in a busi- 
nesslike way. 

What are the approximate investment figures here? 

§750,000,000 is invested in studios, productions, etc. The 
weekly pay roll is over $1,000,000. The annual production value 
averages S150,000,000. 

What is the difference between picture and stage production 
in risk? 

Picture production differs from stage production in the greater 
risk in the original outlay. Stage producers often try out plays 
experimentally in small towns with cheap casts ; then drop them 
as failures after spending very little money. The picture pro- 
ducer never knows whether he has a success or failure until he 
has spent all the money the picture will ever cost. In other words, 
the stage producer pays on the installment plan as it were, and 
his expenses keep right on with his receipts; but the picture 
producer pays it all before a living soul has seen the product. 
Picture production is thus vastly more of a gamble. 

What is the value of names in pictures? 

There are many problems between the advertising man and 
the motion picture. One of the great problems of the picture 
business is to make people come to see a picture which may be 



512 



THE TRUTH ABOUT THE MOVIES 



of the very first quality but fails because it hasn't famous names. 
Such a picture has to depend on word-of -mouth advertising. As 
it is now, the stars in the picture advertise it. Some way must 
be devised to get the people into the theatre on the merits of the 
picture without reference to the stars who are some times 
cast in parts to which they are wholly unadapted because we 
have not learned, as yet, to sell pictures to the public except 
through "big names." 

HARRY WILSON 



>K * * 



It should be remembered that the established film companies 
are not advertising for applicants. In fact, ninety-nine per cent 
of the advertisements in newspapers are by promotion com- 
panies who wish to get movie-struck people either to take 
courses in -"make-up" and acting, or to buy stock in picture 
enterprises in order to get a chance to work for the screen. 



¥5 



When Opportunity Knocks 



ERY often in the motion picture business a name springs 



into prominence overnight. Usually such longed-for oppor- 



tunities come when a great character in a great story 
awaits the proper individual for its complete interpretation. 

To the individuals among this crowd which throngs the lower 
reaches of filmdom come, however, more real opportunities than 
exist in any other art or industry. 

My own experience is only one among dozens of similar cases. 
Motion pictures are made up of specific individual emotional 
interpretations. Characters in a motion picture must live, be 
real people, if that picture is to be truly successful. 

A great many beginners in motion pictures lose their oppor- 
tunities because, while physically they are precisely the type 
needed, they have not trained themselves with sufficient thor- 
oughness in the fine points of photo-dramatic technique. 

Therefore, I would say that preparation is the one essential 
if the beginner in motion pictures is not to be caught unawares 
when opportunity knocks. In other lines of work there are possi- 
bilities of further chances if one should fail at the first call. 
In motion pictures, however, characters so big and so gripping 
as to give you a real chance for immediate advancement rarely 
hit twice in the same place. 





513 



¥5 



Summary 

SUCCESS is relative. Some measure success by financial 
returns ; others by accomplishment. A man may be penni- 
less and be successful if he has won the love of his fellows. 
But for whatever you strive, if you would make it a living reality 
you must pay the price, be it tears or blood or even your life. 

The way of ambition is beset with many dangers. Some 
have gone forth to discover a new hemisphere, the poles of the 
earth — to climb a mountain to place their names high in the 
sight of men, to win the love of a woman. But none ever did 
nor may accomplish the goal until he pays the price. 

The price was paid by bold men with courage like the tiger 
and hearts of steel, that the continent on which we dwell might 
be made fit for habitation by us. The comforts which we daily 
enjoy and which we hold all too cheaply were made possible by 
brave men who dared to go forth to conquer Nature, the beasts 
of the forest, and the "red devils" who lay in wait for them at 
every step. But they, with dauntless hearts and the will to 
overcome all things, walked unguided across the trackless plains, 
swam the turbulent streams, burrowed under the rivers, tun- 
neled the mighty granite peaks, thirsted, starved and bled. 

How many a poor fellow fell in the desert that you might 
have the priceless drops that irrigate your crops — that quench 
your thirst. How many bore the hardships and terror of pri- 
vation that you and I might see our way about at night in 
well-lighted streets and dwell in safety where but shortly ago 
there was nothing but aridity, desolation and death. 

But success does not belong to what we call the material 
world. It may be one desires money, or fame, or the love of 
friends. Then ascertain the price and pay it. 

The price is always "work/' Work ungrudingly performed. 
You must drag your torn and bleeding feet across the briar- 
strewn way and ever with your face turned toward the morn- 
ing, see no shadows fall toward the East. Work, work, work. 
Nothing can be accomplished without it. The great scholars 
have done it in the faint glow of the candle or in the flickering 
light of the fireplace. The doctor, the lawyer, the merchant, 
the actor steps upward by a road that all must travel. There 

514 



SUMMARY 



515 



are no smooth places on the road to success — these only lead to 
failure — final failure. 

He who would succeed must go forth equipped for the con- 
quest. He must not only be willing to labor, but must be able 
to do so and to make his labor count. It is no use to strive for 
any goal unless you have purpose — but you must be fitted to 
accomplish that purpose. There is no use of attempting to be- 
come a watchmaker if your hands and brain are those of a 
blacksmith. 

So one must choose wisely, and having so chosen, must un- 
falteringly press forward. What matters if failure threatens 
if you have the weapons with which to beat down what opposes 
you? If you have chosen rightly nothing can defeat you if 
you have faith and courage to press on. "Chance" has no place 
in the resolute man's lexicon. Beauty of face never won a 
battle for a leader. Mere mental strength never won a strug- 
gle between mental giants. There was, and always is, some- 
thing else present — the will to do and to accomplish and inces- 
sant labor along the way that leads to the goal. 

Some persons seem to have what is called "good luck." But 
no one ever won a conquest by good luck alone. Good luck 
comes to those who eternally strive, as "fortune favors the 
brave." So if you would have good luck, you must plod on and 
on along the throny way and "keep on keeping on" eternally. 

Oh, blessed are they who, having God given talents, do not 
hide them under a bushel, but sow amid the storm and ever 
tend their crops until the bright harvest sunlight illumines the 
pathway to Harvest Home. "They who sow in tears shall reap 
in joy." 

And they who plod the weary way with bodies bent beneath 
the heavy load, shall some day emerge from the land of gloom 
and hardships "bringing their sheaves with them." 

So through all the varying changes of life, through fire and 
flood and tears let each one see, "a little farther on," the prize 
which he himself has set before him, and through it all remem- 
ber that there is something better to attain than money or 
power or fame and that is the glory of a well-spent life — the 
greatest success to which a human can aspire. 



Motion Picture Glossary 

By HARRY WEBB 
Action — The movement of the plot. Work of players. 

Art- Director — Party who is responsible for all interior and exterior sets to be 
built at studio or on location. Where an interior is built at studio to match 
an exterior on location, it is the Art-Director's duty to see that doors, windows, 
etc., match. 

Assistant- Director — One who is responsible to the director. He obtains all talent, 
special articles called "props," livestock, etc. keeps account of wardrobe 
changes of actors and actresses and must see that each scene "shot" is given 
its proper number and kept in continuity. 

Atmosphere — The same as "extra," or persons used in scenes other than the 
principal characters. 

Bell and Howell — Name of camera used in the motion picture business. 

Bit — A small piece of acting such as a butler, maid, chauffeur, etc. 

"Camera" — Word used by director to start the grinding of the camera. 

Camera lines — Within the range of the camera. 

Cast — Actors or actresses selected to portray characters in a production. 
Climax— Bringing dramatic accumulation to a head. 

Close-up — A real close "shot" of a person or persons to get over some particular 

bit of business or some emotion. 
Comedian — An actor who portrays comedy parts to make an audience laugh. 
Comedienne — A girl or woman who portrays comedy roles on the screen. 
Continuity — After the scenario is adapted from an original story, the continuity 

is then written from the scenario which means that the action is condensed 

into sequences and numbered in numerical order for the guidance of. the 

director. 

Cut— Used by director to stop action and grinding o'< camera simultaneously. 

Cutting— Work done by a film-cutter (editor) who works with the director in 
sorting, selecting and assembling desired scenes after filming has been com- 
pleted. 

Dark stage — Closed stage where artificial lights are used. 

Diffusors — Canvas, white or black cloth used to soften the light from the sun 
or lamps. 

Director — The person responsible for the direction of a picture. He instructs the 

actors and puts continuity into action. 
Dissolve — Fading out on one scene and fading in on another at the same time. 

Where one scene melts into another. 
Distributor — Party or parties who sell or distribute the finished picture to the 

theaters or exhibitors. 
Dope — A slang expression such as "give me the dope on your next story" — 

meaning give me the details of your next story, etc. 
Double — Person who performs stunts for the player where risk is too great or 

in uncomfortable situations such as falling off a building, etc., where the 

face does not appear. 
Dual Role — An actor or actress who portrays two distinct characters in a 

production such as mother and daughter, father and son, or two brothers, etc. 
Exteriors — All out-door sets or any shots taken at out-door locations. 
Extra — Actor or actress working in pictures who receives no screen credit. 
Fade — Word used by director to tell the camera man to fade in or fade out. 
Fade-in — Beginning of a scene on the screen in which everything is indistinguish- 
able at first but gradually appears to the fullness of the screen and into 

perfect form. 

Fade-out — The ending of a scene on the screen in which the entire picture is 

visible at first but gradually becomes more indistinguishable until there is 

nothing visible on the screen. 
Featured Player — An actor or actress who plays a more prominent part than 

others in a picture and whose name is exploited as the main attraction. 
Film — Actual name given to stock on which motion pictures are photographed 

bv the camera. 

Film -cutter — After the actual shooting has been completed, the film is turned 
over to the "film-cutter" who works with the director in sorting, selecting 
and assembling tbe film, putting all of the short scenes together to make 
the most interesting rjicture possible. If some scenes are too long he cuts 
them down to a certain footage in order to speed up the action. 

Flares — A hand-torch like a Roman candle used to light scenes on an exterior 
location in which there is not sufficient sunlight to photograph. or often 
used on such locations for night scenes where electricity is unobtainable. 

Graf lex — Camera used for taking still pictures of action such as races, stunts, 
fights, etc. 

Grips — An all 'round carpenter on a set or in a studio. 
Heavy — The villain or villainess. 

Ingenue — A young girl between the ages of 14 and 20 years who plays parts of 
school girls, a voung sister or any part which calls for a girl of that age. 

Interiors— All indoor sets in which there is no outside shots, such as living rooms, 
libraries, offices, cafes, etc. 



516 



GLOSSJRY 



517 



Iris- in (or out) — Method employed by camera men to begin or end some scenes 
starting from the center of the screen. A small circle first appears and as 
the iris in the circle gradually gets larger the scene completely covers the 
screen. Iris-out is to start with as large a circle on the screen as possible 
and gradually close the iris until the scene is completely obliterated. 

Juvenile — A young man between the ages of 15 and 25 years, to play a college boy, 
a wayward son, etc. 

Kleig Eyes — An ailment of the eyes caused by the glare of the lights while 
shooting scenes. 

Kleigs — Name given to a certain light or lamp used extensively in practically 

all studios to light sets for photographic purposes. 
Lap Dissolve — To have one scene overlap another. The old scene fading out 

and the new in. 

Leading Player — In a picture which is known as an 'All-Star," actors and 
actresses who play the leading roles are known as Leading Players. 

Location — Place for taking pictures away from studio such as office buildings, 
fine homes, or other places generally too expensive for reproduction in 
studio, also natural exterior scenes. 

Location Manager — Party in charge of securing locations away from studio. 

Long Shot — Scene taken from a distance in order to include the entire set. 

Lot — Portion of studio used for production. 

Make-up — Name given to cosmetics, etc., used by professional people for making 
themselves into the characters of the story. 

Mob Scene — A large crowd of people with no particular business to do in scenes 
except to cover up vacant spaces within the camera range. 

Nigger — A black frame covered with black cloth to prevent rays of light from 
lamps penetrating to the camera lens. 

Plot — The "meat" or "theme" of a synopsis for a story leading up to all situa- 
tions, climax and ending. 

Press Agent — One who has charge of the advertising and publicity for a star, 
director or producer. 

Producer — Party or parties financially backing the production of a motion picture. 

Production Manager — Party in charge of the making of one or more pictures, 
who keeps account of all expenses, etc., with the idea in mind to keep each 
picture within the financial limit set on each picture as well as to secure 
the best results. 

Projection Room — Room in studio where rushes and the finished pictures are 

exhibited on the screen. 
Props — Properties such as furniture, etc., used to complete a set. 
Reflectors- — Silver covered slabs or wood or cardboard used to reflect sunlight in 

shady places for exteriors. 
Release — After a picture is made and is ready for distribution the firm that 

actually distributes the picture is called the Release. 
Retake — Retaking a scene after the first one has proven to be no good for such 

reasons as poor photography, scratches on film or poor acting. 
Rushes — Scenes which are taken and seen by director each night to discover 

any possible defect,, in film, action, etc. These scenes are exhibited in the 

projection room. 

Save 'Em — Short phrase used by director or electrician to notify electricians to 
shut off the lights. 

Screen Credit — Actors or actresses in regular cast whose names appear on the 
screen. 

Screen Test — A photographic camera test made by a motion picture camera 
to ascertain screening personality of parties for screen work who generally 
have never appeared on the screen. 

Script — Outline of the story titled and numbered from which the picture is 
directed. 

Sequence — A sequence of events without time lapse between, centering around 

one place or incident. 
Scenario — The story from which the picture is made. 

Set — Interior or exterior reproductions of homes, streets, buildings, etc., usually 
built in studios. 

Shooting — Actual taking scenes in motion pictures. The filming of a scene. 
Shot — Any one particular scene in a picture. 
Spots — Spotlights used on sets. 

Star— Leading man or woman who plays leading or title role in a picture. Actor 
or actress around whom the story centers. 

Stills — A photograph of some particular action in a picture used for advertising 
such as we see in magazines, billboards, etc. Stills are also used by per- 
sons in the securing of employment in motion pictures. 

Stunt- Man— Person who is more commonly known as a dare-devil who ri?ks 
his life to double for stars and principals in a picture to add thrills for the 
audience. 

Subtitles — Readme matter used in the finished picture so that the story can 

be more readily understood. 
Sun Arcs — The largest lamp or light used for lighting exterior or interior sets. 



#8 



¥5 



Brief Biog?~aphy 



Adams, Claire, actress — b. Winnipeg, 
Can.; educ. Canada and Eng.; 
screen career, Benj. B. Hampton 
"Riders of the Dawn," "Dwelling 
Place of Light," "The Penalty," 
"The Great Lover," "Just Tony," 
"Do and Dare," "In Arabia," "Brass 
Commandments," "The Scarlet Car," 
"The White Silence," "Daddies," 
"Legally Dead," "Helen's Babies." 

Adams, Jimmie, actor — Screen career. 
Educational Comedies, "Vamped." 
Now with Christie Comedies. 

Adoree, Rertee, actress — b. in France. 
Pictures: "A Self -Made Man," 
"Horor First," "Six-Fifty," "Mixed 
Faces," "The Eternal Struggle," and 
others. 

Ainslee, Marian, author also title 
writer — b. Kansas City, Mo. ; early 
career, newspaper reporter and spe- 
cial writer Kansas City and St. 
Louis. 

Alexander, Ben, actor — b. Goldfield, 

Nevada; educ. Los Angeles, Calif.; 
stage experience, played "Penrod" 
on stage, "The Family Honor," "In 
the Name of the Law," "Penrod 
and Sam," "Boy of Mine." Ht. 4, 7% 
wt. 78 blonde, blue eyes. 

Allison, May, actress — b. Georgia; ex- 
tensive stage and picture career. 
Among pictures which she has ap- 
peared in are: "Marriage of Wil- 
liam Ashe," "Big Game," "Extrava- 
gance," "Flapper Wives." 

Anderson, Robert, actor also director 
— b. Denmark; educ. Denmark; 
screen career, "Intolerance," "Draft 
258," "Hearts of the World," 
"Hearts of Humanity," "Petal on 
the Current," "The Right to Happi- 
ness," "Common Property," "Once 
to every Woman," "My Ladv's 
Ankle," "Dr. Jim," "The Social 
■Bucaneer," "Fires of Faith," "Up 
in the Air About Mary," "Tillie," 
"Below the Dead Line," "The Girl 
in bis Room," "The Lullaby." Ht. 
5, 10; wt. ISO; dark sandy hair, 
dark gray eyes. 

Anthony, Walter— b. Stockton, Calif., 
for fifteen years was music and 
dramatic critic on San Francisco 
Morning Call and San Francisco 
Chronicle. Lecturer on music and 
drama. 

Archainbaud, George, director — b. 
Paris, France educ. France; screen 
career, with Eclair in Paris and U. 
S. A. Peerless- World, Pathe Freres, 
"Shadow of Rosalie Byrnes," 
"Marooned Hearts," "Wonderful 
Chance," "Pleasure Seekers," "The 
Bride From Nowhere," "Miracle of 
Manhattan." "Handcuffs or Kisses," 
"The Common Law," "One Week of 
Love," "The, Storm Daughter." 

Astor, Mary, actress — b. Quincy, 111. 

- "Puritan Passions," "Second Fid- 
dle," "Beau Brummel," and others. 

Atkinson, Frank, film-cutter — Uni- 
versal. 

Austin, Albert, director — b. Birming- 
ham, Eng., 1885; educ. there; stage 
career first came to this country 



with Charles Chaplin in "A Night in 
An English Music Hall," stock in 
Denver Colo., screen career, "A 
Dog's Life," "Shoulder Arms," "My 
Boy." Ht. 5,11; wt. 160; brown hair 
and eyes. 

Ay res, Agnes, actress— b. Chicago; 
educ. there; screen career, "A 
Modern Salome," "Go and Get It," 
"Held by the Enemy," "Forbidden 
Fruit," "The Love Special," "Cappy 
Ricks," "The Affairs of Anatol," 
"The Sheik," "The Lane That Has 
No Turning," "Bought and Paid 
For," "The Ordeal," "Borderland," 
"Clarence," "A Daughter of Lux- 
ury," "Racing Hearts," "The Mar- 
riage Maker," "Don't Call It Love," 
"Bluff," "The Guilty One." 

Baggot, King, director — b. St. Louis. 
Mo.; "Moonlight Follies," "The Girl 
Who Knew All About Men," "The 
Kentucky Derby," "Nobody's Fool," 
"Kissed," "Human Hearts," "The 
Lavender Bath Lady," "A Danger- 
ous Game," "The Love Letter," 
"Gossip," "The Town Scandal," 
"Darling of New York," Ht. 6, wt. 
185; brown hair, blue eyes. 

Baker, (Snowy) Rex, famous all- 
around athlete, actor — b. Sydney, 
Australia; educ. Australia; screen 
career, "The Fighting Breed," "The 
Shadow of Lightning Ridge," "The 
Better Man," "The White Panther," 
"Sword of Valor," "The Fighter's 
Paradise," "The Empire Builders," 
Pictures made in Australia: "Lure 
of the Bush," "The Enemy Within," 
"The Man from Kangaroo." 

Baker, Reginald, director, producer— 
b. Winnipeg, Can., 1886; educated, 
Scotland and California; screen ca- 
reer, "The Bargain," "The Turn 
of the Wheel," "The Coward," 
"The Hell Cat," "Shadows," "The 
Stronger Vow," "The Brand," "Girl 
From Outside," "Crimson Gardenia," 
"Bonds of Love," "Flame of the 
Desert," "Poverty of Riches." "The 
Old Nest," "Dangerous Days," "Wo- 
man and the Puppet," "Branding 
Iron," "Hearts Aflame." 

Barker, Reginald, director and pro- 
ducer — b. Winnipeg, Canada; exten- 
sive stage career; managed own le- 
gitimate organization; directed many 
pictures, a few of which are "Hearts 
Aflame," "Godless Men," "The Old 
Nest," "The Great Divide." 

Barnes, T. Roy, actor — b. Lincoln, Eng- 
land; educ. Utica, N. Y. ; stage ca- 
reer, "Red Canary," "Passing Shn-w 
114," "See My Lawyer," "Over the 
Top," "Over the River," "Katrina." 
vaud. 12 yrs. screen career, "Scratch 
My Back," "So Long Letty," "See 
My Lawyer," "Kiss in Time," "Her 
Face Value," "Exit the Vamp," "The 
Old Homestead," "Adam and Eve," 
"The Go-Getter," "The Great White 
Way," "Butterfly." Ht. 6; wt. 155 
light hair, blue eyes. 

Barry, Wesley, actor — b. Los Angeles. 
Pictures include "Rags to Riches," 
"School Days," Heroes of the 
Street." 



51 



8 



BIOGRAPHY 



519 



Barrymore, John, actor — Stage career 
for many years. Pictures are "Sher- 
lock Holmes," "Beau Brummel," etc. 
Baxter, Warner, actor — b. Columbus, 
Ohio; educ Columbus schools; pre- 
vious career, insurance business; 
stage career, 14 yrs., stock, vaude- 
ville and. N. Y. productions; screen 
career 2 yrs.; "Sheltered Daugh- 
ters," "First Love," "The Love 
Charm," "Cheated Hearts," "Her 
Own Money," "If I Were Queen," 
"Blow Your Own Horn," 'The Girl 
in His Room," "The Ninety and 
Nine," "A Girl's Desire." Ht. 5,11 
wt. 168; brown hair, brown eyes. 

Beaudine, Harold, director — Christio 

Film Company. 
Beaudine, William, director — b. New 
York City: screen career, "Watch 
Your Step," "Catch My Smoke," 
"Penrod and Sam," "Heroes of the 
Street," "The Printer's Devil," "The 
Country Kid," "Boy of Mine." 
Beaumont, Harry, director — b. Abil- 
ene, Kas., Feb. 10, 1891; educ, St. 
Joseph, Mo., screen experience, 7 
yrs., with Edison as actor, director 
for Essanay, Selig, Goldwyn, Metro. 

Beery, Noah, actor, also director — b. 
Kansas City, Mo. 1884; extensive 
screen career, "The Red Lantern," 
"Soul of the Beast," "Ebb Tide," 
"The Sea Wolf," "The Sage Brush- 
er," "Bits of Life," "Dinty," "Omar 
the Tent Maker," "The Mark of 
Zorro," "The Crossroads of New 
York," "Wild Honey," "Belle of 
Alaska," "Quicksands," "I am the 
Law," "Flesh and Blood," "The 
Spider and the Rose," "Good Men 
and True," "The Power of Love," 
"The Spoilers," "Wanderer of the 
Wasteland," "The Fighting Cow- 
ard," "Compromised." Ht. 6, 1; wt. 
216; dark hair and eyes. 

Beery, Wallace, actor — b. and educ, 
Kansas City, Mo. ; stage career, 10 
yrs., with H. W. Irving; screen ca- 
reer, "Victory" "The Last of the 
Mohicans," "The Rosary," "The Un- 
pardonable Sin," "The Flame of 
Life," "Hurricane's Gal," "Behind 
the Door," "The Four Horsemen," 
Principal, "The Man From Hell's 
River," "Trouble," "The Sage Brush 
Trail," "Robin Hood," "The Span- 
ish Dancer," "Only a Shop Girl," 
"Storm Swept," "Patsy," "I am the 
Law," "The white Tiger," "Ashes 
of Vengance," "Sea Hawk." Ht.6; 
wt. 200; dark hair, brown eyes. 

Beetson, Fred W., secretary — Motion 
Picture Producers' Association. 

Bellamy, Madge, actress — b. Hillsboro, 
Texas. Pictures include "Lost," 
"Hottentot," Rose of Napoli," etc. 

Beimore, Lionel, actor — b. Wimbledon, 
Surrey, Eng.; educ, Bedford Col- 
lege, Eng. ; legitimate stage experi- 
ence: screen career, "Oliver Twist," 
"Within the Law," "Peg-O-My 
Heart," "Kindred of the Dust," "En- 
ter Madame," "The World's Cham- 
pion," "Jazzmania." "Kentucky 
Derby," "Out of the Silent North," 
"The Galloping Kid," "Boy of Flan- 
ders," "Red Lights," "Lady of Qu- 
ality," "The Sea Hawk," "The Man 
Who Fights Alone," Ht. 5, 11; wt. 
225; gray curly hair, hazel eyes. 

Bennett, Enid, actress — b. York, W. 
Australia; educ. Perth, W. Austra- 
lia: stage career in America and 
abroad; screen career, "Bootlegger's 
Daughter," "Your Friend and Mine," 



"Strangers of the Night," "Court- 
ship of Miles Standish," "Robin 
Hood," "The Red Lily," "Captain 
Applejack," "The Bad Man," and 
many others. Ht. 5, 3; wt. 110; gol- 
den brown hair, hazel eyes. 
Beranger, Clara, writer — b. Baltimore, 
Md. educ. Goucher College, early 
career, magazine and newspaper 
work; screen career, began writing 
as a free lance for Edison. 

Bern, Paul, actor, director, writer — 
Now with Paramount. 

Bernheim, Julius — Business Manager, 
Universal Pictures. 

Blue, Monte, actor — b. 1890, Indianap- 
olis, Ind.; educ. Purdue University; 
screen career, "Brass," "Broadway 
Rose," "Main Street," "Peacock 
Alley," "Orphans of the Storm," 
"Tents of Allah," "The Man Be- 
hind," "Marriage Circle." Ht. 6, 3; 
wt. 156; brown hair, brown eyes. 

Boardman, Eleanor, actress — b. Philla- 
ladelphia; educ. Phil, school of ap- 
plied Arts; screen career, "Souls for 
Sale," "Gimme," "Stranger's Ban- 
quet," "Three Wise Fools," "Dav 
of Faith." Ht. 5, 6; wt. 120; light 
brown hair, green eyes. 

Bonomo, Joe, actor — b. Dec. 25, 1902, 
at Coney Island, N. Y. ; graduated 
public school and high school; at- 
tended college 2 years; played in 
"White Faith" and "Light in Dark," 
"Pearl of Paradise." "Iron Man," 
"Wolves of the North," "Excite- 
ment," "Light That Failed" and 
"The College Cowboy." 

Bosworth, Hobart, actor — b. Marietta, 
Ohio; previous career, sailor, fighter 
and wrestler, odd jobs San Fran- 
cisco, screen career in Hollywood: 
"Sea Wolf," "Odyssey of the North," 
"Burning Daylight," "Behind the 
Door," "Below the Surface," "Joan 
the Woman," "Rupert of Hentzau," 
"Eternal Three," '.'Vanity Fair," 
"Palace of the King," "Nellie the 
Beautiful Cloak Model," and many 
others. Ht. 6, 1; wt. 200; gray hair, 
blue eyes. 

Boteler, Wade, actor — b. Santa Ana, 
Cal. ; educ. Los Angeles, Cal. ; stock 
experience; screen career, "The Dau- 
ghter of Mother McGuire," "Alias 
the Night Wind," "Going Up," "The 
Ghost Patrol," "Ridin' Wild," 
"While Satan Sleeps," "Deserted at 
the Altar." Ht. 6; wt. 185; red hair, 
blue eyes. 

Bow, Clara, actress — "Black Oxen," 
"May Time," "Wine," "Poisoned 
Paradise." 

Bowers, John, actor — b. Indiana; late 
pictures, "Lorna Doone," "Quincy 
Adams Sawyer," "Richard the Lion- 
hearted," "When a Man's a Man," 
and many others. 

Boyle, Jack, writer — Boston Blackie 
stories. 

Brabin, Charles, director — b. Liverpool, 
England. Many pictures,, including 
"Driven," "Six Days," ''Name the 
Man." 

Bracy, Sidney, actor — b. Melbourne, 
Australia, 1882; educ, Melbourne 
Univ. ; stage career, with late J. C. 
Williamson in Australia; screen ca- 
reer, "The Social Buccaneer," "The 
Dictator," "Nobody's Bride," "Is 

• Matrimony a Failure," Ht. 5, 9; wt. 
138; brown hair, dark brown eyes. 

Breamer, Sylvia, actress — b. Sydney, 
Australia; educ, there; stage ca- 
reer, 5 yrs.; screen career, "The 



520 



BIOGRAPHY 



Common Cause," "Missing," "The 
Devil," "A House Divided," "Girl 
of the Golden West," "Lord of Thun- 
dergate," "Flaming Youth," "Her 
Temporary Husband," "Bavu," "The 
Man Unconquerable." Ht. 5, 5; wt. 
128; brown hair, brown eyes. 

Brenon, Herbert, director — b. Dub'in, 
Ireland; extensive, stage and motion 
picture career. A few of his pic- 
tures are "The Sign on the Door," 
"Rustle of Silk," "Spanish Dancer," 
and many others. 

Brieriey, Thomas, technical director 
— Christie Film Company. 

Brodin, Norbert, cameraman — Among 
the pictures he has photographed 
are "Man From Lost River," "The 
Voice From the Minaret," "Blind 
Husbands," "Brass." 

Brown, Clarence, director — b. Knox- 
ville, Tenn.; educ, University of 
Tennessee; early career, automobile 
business. 

Buchowetzki. Dimitri, director — Di- 
rected "Men," with Pola Negri, for 
Paramount. 

Buckland, Wilfred supervising artist 

— William de Mille-Paramount prod- 
uctions; b. New York, 1876; educ, 
public and private schools, Stevens 
Institute, electrical engineering, Co- 
lumbia university, architecture. Ac- 
tor with Augustin Daly Co., Daniel 
Frohman Co.; actor and art director, 
Charles Frohman Co. 
Burns, Neai, actor— b. Bristol, Pa. 
"Rambling Romeo," "Any Old Port," 
"Ocean Swells," "Be Yourself," "No 
Parking." 

Busch, Mae, actress — b. Melbourne 
Australia. Pictures include "Souls 
for Sale," "Foolish Wives," "Broth- 
ers Under the Skin," "The Chris- 
tian." 

Butler, Frank, actor — Now making 
Spat Family Comedies, Hal Roach 
Studio, Culver City, Cal. 

Calhoun, Alice, actress — Pictures in- 
clude "R. S. V. P.," "The Cub Re- 
porter." 

Carew, Ora, actress — b. Salt Lake 
City, Utah; educ. there, screen career 
"Go West, Young Man." "Too Many 
Millions." "Loot." "Under Suspi- 
cion," "The Peddler of Lies." "Lit- 
tle Fool," "Ladyfingers," "Sherlock 
Brown," "Voice in the Dark," 
"Smiles Are Trumps," "Girl From 
Rocky Point," "Beyond the Cross 
Roads," and "Smudge." Ht. 5, 3; 
wt. 120; dark brown hair, brown 
eyes, 

Carewe, Edwin, producer — b. Gaines- 
ville, Texas. Productions include 
"Mighty Lak a Rose," "The Bad 
Man," "A Son of Sahara." 
Carpenter, Grant, writer — b. in Cali- 
fornia. Novel and plav writing: 
screen career, "Sixty Cents an 
Hour," "Brothers Under the Skin," 
"The Pride of Palomar," etc 
Carr, Alexander, actor — b. Russia; 
professional career includes circus, 
minstrels, grand opera, comic operas, 
vaudeville, stage and screen. Starrei 
in vaudeville with "An Am-il 
Shower" and "Toplitzky." Since 
1913 co-starred with late Barnev 
Bernard in series of "Potash and 
Perlmutter" plays. 
Carr, Mary, actress — Screen career, 
"Over the Hill," "Thunderclap," 
"Silver Wings," "The Custard Cup," 
"You Are Guilty," and many others. 



Cautiero, Robert, actor — b. Rome, Italy. 
See article "The Quickest Way of 
Securing Employment in Pictures." 
Chadwick, Helene, actress — b. Chad- 
wick, N. Y. ; educ. there; screen ca- 
reer, "Long Arm of Manister," "The 
Cup of Fury," "Heartsease," "The 
Sin Flood," "Dangerous Curve 
Ahead," "From the Ground Up," 
"The Glorious Fool," "Yellow Men 
and Gold," "The Dust Flower," 
"Brothers Under the Skin," "Gim- 
me," "An Adventure in Hearts," 
"Girls," "Godless Men," "Quick- 
sands. Ht. 5, 7; wt. 130; light hair, 
brown eyes, light complexion. 
Chaff in, Ethel — Head of costume and 
wardrobe department, Paramount 
West Coast studio. 
Chaney, Lon, actor — b. and educ, 
Colorado Springs, Colo. Stage ca- 
reer, directed and produced "Pop." 
Screen career, "Fires of Rebellion," 
Law," "The Shock," "The Trap," 
"False Faces," "Treasure Island." 
"The Miracle Man," "Victory/' 
"Bits of Life," "Oliver Twist," "The 
Light in the Dark," "Nomads of the 
North," "Quincy Adams Sawyer," 
"All the Brothers Were Valiant," 
"Flesh and Blood," "Shadows," 
"While Paris Sleeps," "For Those 
We Love," "The Penalty," "Ace of 
Hearts," '-'The Night Rose," "Voices 
of the City," "The Blind Bargain," 
"The Hunchback of Notre Dame." 
„ Chaplin, Spencer Charles, actor, also 
producing director — b. Paris, 1889; 
stage career, in London theatres, 
"Rags and Riches," Billy in "Sher- 
lock Holmes," came to America with 
"Night in an English Music Hall"; 
Lone Star- Mutual. Ht. 5, 4; wt. 
125; broAvn hair, blue eyes. 
Chaplin, Sydney, actor also director — 
b. Cape Town, South Africa; educ, 
London; stage career, with Charles 
Frohman, Fred Karno, "A Night in 
an English Music Hall"; screen ca- 
reer. "Submarine Pirate" and others 
for Keystone. 
Christie, Al, producer, supervisant di- 
rector — b. London, Canada; educ, 
N. Y. ; early career, with Liebler & 
Co.. in productions starring Wilton 
Lackaye, May Irwin, Wm. C. Hodge 
and others; screen career, produced 
Nestor Comedies, producer of more 
than 800 comedies; 1916 organized 
Christie Film Co. 
Christie, Charles H., vice president 
and general manager of Christie 
Film Co. — b. London, Ontario, Can. 
Clifford, Ruth, actress — b. Pawtuckett, 
R. I.; educ, St. Mary's Seminary, 
Bayview, R. I. ; screen career, 
"Mothers-in-Law," "Daughters of 
the Rich." "juife of Abraham Lin- 
coln," "Ponjola," "Truxton King," 
"Face on Barroom Floor," "Butter- 
fly." Ht. 5, 4y 2 ; wt. 124; blonde hair, 
blue eyes. 
Cody, Lew, actor — b. Maine. Pictures 
include "Souls for Sale," "Rupert of 
Hentzau," "Sign on the Door." 
Compson, Betty, actress — b. Park City, 
Utah; Christie Comedies "The 
White Flower," "Woman With Four 
Faces," "Woman to Woman." 
Connelly, Edward, actor — b. N. Y. C; 
stage career, 5 yrs., "Shore Acres," 
with Fritzi Scheff in "Babette," 
"Higgledy-Piggledy": screen career, 
"Fall of the Romanoffs," "Rasputin," 
"Scaramouche," "Conflict," etc. 



BIOGRAPHY 



521 



Coogan, Jackie, actor — b. Los Angeles, 
Calif., Oct. 26, 1914; educ. private 
tutors; stage career, made first ap- 
pearance at age of 16 months; 
screen career, attracted Charles 
Chaplin for title role of "The Kid"; 
"Toby Tyler," "Long Live the King." 

Coogan, Jack, Sr., producer— b. and 
educated in Syracuse, N. Y; vaud. 
and legitimate stage experience. 

Cook, Clyde, actor — b. Brockwayville, 
Pa.; screen career, "The Show- 
Down," "Southern Justice," "The 
Greater Law," "Up or Down," "Sol- 
diers of Fortune," "The Toreador," 
"The Chauffeur," "The Eskimo," 
"Lazy Bones," "The Artist." 

Cooper, Rosemary, actress — b. Lewis- 
ton, Idaho; educ, Kentucky; stage 
experience in "If I Were Twenty- 
one," for 2 years; screen career, 
"Mary of the Movies," "Alimony." 
Ht. 5, 4; wt. 125; brown hair and 
brown eyes. Latest pictures "The 
Spirit of the U. S. A.," "The Coun- 
try Doctor." 

Cortez, Ricardo, actor — b. Alsace-Lor- 
raine, France; educ. N. Y. C; stage 
career, 2 yrs. stock; screen career, 
"Sixty Cents an Hour," "Children 
of Jazz," "Hollywood," "The Gen- 
tleman from America," "Society 
Scandal," "The Bedroom Window," 
"Feet of Clay." Ht. 6, 1; wt. 175; 
black hair, brown eyes. 

Cowan, Sada, writer — b. Boston, 
Mass.; educ, Europe; musician, 
playwright, scenarist; screen expe- 
rience, original stories and conti- 
nuity. 

Crizer, T. J. — Production manager 
and editor, Hal E. Roach Studio. 

Currier, Frank, actor — Extensive 
stage and screen career; late pic- 
ture, "Sea Hawk." 

Cruze, James, director — b. Ogden, 
Utah, 1884; educ, there; stage ca- 
reer, medicine shows, touring coun- 
try. Screen career, "Under the 
Top," Johnny Get Your Gun," "Al- 
ways Audacious," "The Charm 
School," "Dollar a Year Man," "One 
Glorious Day," "Is Matrimony a 
Failure," "The Dictator," "The Old 
Homestead," "Thirty Days," "The 
Covered Wagon," "Hollywood," 
"Ruggles of Red Gap." 

Dana, Viola, actress — b. Brooklyn, 
1898; educ, New York; stage ca- 
reer, 11 yrs., appeared in "Rip Van 
Winkle," "The Littlest Rebel," "The 
Poor Little Rich Girl"; screen ca- 
reer, "Stoning," "Blackmail," "A 
Crinoline R o m a n c e," "Rouged 
Lips," "Love in the Dark," "They 
Like 'Em Rough," "Noise in New- 
boro," "Glass Houses," "Seeing Is 
Believing," "The Five Dollar Baby." 

Daniels, Bebe, actress — b. Dallas, Tex.; 
educ. convent and private tutors; 
stage experience, child star at 4; 
starred in "Prince Chap"; screen ex- 
perience, Selig, Vitagraph, NYMP. 

Darmond, Grace, actress — b. Toronto, 
Can.; educ. there; stage experience, 
stock; screen experience, 5 vrs., 
"The Song of Life," "A Midnight 
Guest," "Daytime Wives," "The 
Man from Ten Strike City," "A 
Dangerous Adventure," "Alimonj-." 

Datig, F. A., casting director — Univer- 
sal. 

Davies, Marion, actress — b. Brook- 
lyn, N. Y. See article, "My Most 



Interesting Experience in Making 
Pictures.' 

Dean, Dinky, child actor — "A Dog's 
Life" with Charles Chaplin; now 
starring in his own production. 

Dean, Priscilla, actress — b. N. Y. C; 
educ. private tutors; screen career, 
"Conflict," "Wild Honey," "Under 
Two Flags," "The Flame of Life," 
"Drifting," "Reputation," "White 
Tiger." 

De Grasse, Sam, actor — b. Bathurst, 

New Brunswick; screen career. 
"Birth of a Nation," "Intolerance," 
"Robin Hood," "King Tut," "The 
Spoilers," "Courtship of Miles Stan- 
dish." Ht. 5, 10V>; wt. 150; black 
hair, brown eyes. 
Del Ruth, Hampton, director — b. Ven- 
ice Italy, 1888; educ. Oxford Univ., 
England; screen career, "The Pas- 
serby," "Old Black Joe," "Count of 
Monte Cristo," "The Lighted Way," 
"Love Tales of Hoffman," "The In- 
visible Fear," "The Marriage 
Chance." 

De Mille, Cecil B., director and pro- 
ducer — Director - general, Famous 
Players-Lasky Corp. ; b. Asheville, 
Mass.; educ. Mil. Schl. and Amer. 
Acad. Dram. Arts, N. Y. C. 

De Mille, William C, director, author 
— b. Washington, N. C, 1878; educ. 
Columbia Univ.; author of "Strong- 
heart," "The Warrens of Virginia," 
and "The Woman"; screen career, 
"The Tree of Knowledge," "The 
Prince Chap," "Conrad in Quest of 
- Youth," "Midsummer Madness." 
"What Every Woman Knows," 
"The Lost Romance," "After the 
Show," "Bought and Paid For," 
"Nice People," "Clarence," "The 
World's Applause," "The Marriage 
Maker," "Grumpy," "Don't Call It 
Love," "Icebound," "The Bedroom 
Window," "Spring Cleaning." 

Dempsey, Jack, world's heavyweight 
champion — Now making pictures 
with Universal. 

Denny, Reginald, actor — b. England; 
screen career, "A Dark Lantern," 
"39 East," "The Price of Posses- 
sion," "Paying the Piper," "Foot- 
lights," "The Iron Trail," "Tropical 
Love," "Sherlock Holmes," "Never 
Let Go," "The Kentucky Derby," 
"The Abysmal Brute," "Leather 
Pushers" series. 

De Roche, Charles, actor — b. France. 
Screen career in France and America 
came to United States in 1922. "The 
Spanish Jade," "Law of the Law- 
less," "The Cheat," "The Marriage 
Maker," "The Ten Command- 
ments," "Shadows of Paris," "The 
White Moth," "Love and Glory." 

Desmond, William, actor — b. Dublin, 
Ireland; stock experience at Bur- 
bank Theatre, Los Angeles; starred 
in "Quo Vadis," "Bird of Paradise," 
"Phantom Fortune." Ht. 5, IIV2; 
wt. 170; black hair, blue eyes. 

Devore, Dorothy, actress — b. Fort 
Worth; educ. there and Los An- 
geles; stage exper., 1 season vaud.; 
screen career, "Saving Sister Su- 
sie," "One Stormy Night," 
"Let 'Er Run," "Chop Suey," "Ba- 
bies Welcome," "Hazel From Holly- 
wood," "Winter Has Come." Ht. 
5, 2; wfc. 115; brown hair and eyes. 

Dix, Beulah Marie, scenario writer — 
I Paramount Studios. 



522 



BIOGRAPHY 



Dix, Richard, actor— b. St. Paul, Minn. 
Pictures include "Souls for Sale," 
"To the Last Man," "The Christian" 
and many others. 

Dodd, Neal, Episcopal minister, Hol- 
lywood, California. 

Dougherty, Jack, actor — Pictures in- 
clude "Second Hand Rose," "Money, 
Money, Money." 

Dunbar, David, actor and director — b. 
Australia; extensive Europ'n screen 
career; Pathe; serials. 

Duncan, Lee, director — Owner of fa- 
mous Police dog, Rintintin. 

Duncan, William, actor, director, pro- 
ducer — -b. Scotland; extensive stage 
and screen career; now with Univer- 
sal directing serials, the latest of 
which is "The Iron Trail" and 
"Wolves of the Night." 

Dunn, Winifred, writer — b. Rochester, 
N. Y.,; educ. private tutors and St. 
Xavier's Academy, Chicago; screen 
expe.ience 12 years, "Glory of 
Clementina," "Silent Years," "Two 
Kinds of Women," "Your Friend 
and Mine," "Eagle's Feather," 
"Held to Answer," "Little Eva As- 
cends." Edited and titled "Quincy 
Adams Sawyer," "The Eagle's 
Feather," "The Man Whom Life 
Passed By," "Along Came Ruth," 
"The Shooting of Dan McGrew." 

De Ruelie, Emile, casting director — b. 
St. Louis, Mo., Dec. 25, 1885; fin- 
ished educ. 1903 and moved to New 
York; entered motion pictures 1915 
as assistant director; also produced 
several short subjects; entered em- 
ploy of Thos. H. Ince as casting di- 
rector Feb. 8, 1924. 

Edlin. "Ted", actor — b. San Francisco, 
Calif, Oct. 3, 1896; educ. Univ. of 
Calif.; song writer at 16; wrote 
"That Lovable Rag," "My Dear 
Girl" and many monologues and 
sketches; in stock at the Alcazar 
and with Del St. Lawrence in 
San Francisco; played juvenile leads 
in four 2-reel pictures in 1915 at San 
Mateo, Calif, with the Liberty Film 
Co., the first motion picture com- 
pany in that county; screen credits 
in 1915 were "Love Finds a Way" 
and "The Peacemaker." 

Edwards. Snitz, actor — Screen career,- 
"No Woman Knows," "Human 
Hearts," "Red Hot Romance," "La- 
dies Must Live," "The Ghost 
Breaker," "The Gray Dawn," "A 
Ladies' Man," "Love Is an Awful 
Thing," "irom Rags to Riches," 
"Souls for Sale," "June Madness," 
"Rosita," "Thief of Bagdad." 

.Fairbanks, Douglas, actor — b. Denver, 
1883; educ. Mil. Acad., Colorado 
schl. of Mines, Harvard; screen ex- 
perience, "The Americano." "In- 
Again, Out Again," "Wild and 
Woolly," "Mr. Fix-it," "Arizona," 
"When the Clouds Roll By," "The 
Mollycoddle," "Mark of Zoro," "The 
"Nut," "Three Musketeers," "Rob- 
in Hood," "Thief of Bagdad." 
Fairfax, Marion, writer — b. Richmond, 
Va.; educ. Emerson Coll., Boston; 
private tutors; screen career, "lay- 
ing First," "Sherlock Holmes," 
"Fools First," "Snow Shoe Trail." 
Farina, child actor — Now with "Our 

Gang" Comedies. 
Farley, James, actor — b. Waldron, 
Ark., 1882; educ. Univ. Mo.; screen 
career, "Bar Nothing," "Bucking the 
Line," "The Devil Within," "Four 



Horsemen of the Apocalypse," 
"Travelin' On," "Boy Crazy," "My 
Irish Rose," "The Little Wild Cat," 
"When Danger Smiles." Ht. 5, 11; 
wt. 165; brown eyes and hair. 

Farnum, Dorothy, scenarist — b. N. Y. 
C; educ. French convent. "Tess of 
the Durbervilles," adapted "Beau 
Brummel," "Babbitt," "Being Re- 
spectable." Ht. 5, 4; wt. 125; red 
hair, brown eyes. 

Farnum, William, actor — b. Boston, 
186; educ. Bucksport, Mass.; stage 
plays: "Virginius, "Spartacus," "In- 
gomar," "Romeo and Juliet," "Ju- 
lius Caesar," "Merchant of Venice," 
"Othello," "As You Like It." Screen 
plays, "The Spoilers," "Sign of the 
Cross," "The Nigger," "The Bonds- 
man," "Riders of the Purple Sage, " 
"When a Man Sees Red," "Tale of 
Two Cities," "Les Miserables,". "If 
I Were King," "The Last of the 
Duanes," "Samson," "A Stage Ro- 
mance," "The Man Who Fights 
Alone." 

Fawcett, George, actor — b. Virginia; 
educ. Univ of Va. ; stage career, ex- 
tensive experience in U. S. and Eng. 
Screen career, "Nobody," "Polly of 
the Follies," "Lessons in Love," 
"Sentimental Tommy," "Forever," 
"Hush Money," "Manslaughter," 
"The Old Homestead," "Ebb Tide," 
"Drums of Fate," "Java Head," 
"Mr. Billings Spends His Dime," 
"Moon Gold," "Burn 'Em Up 
Barnes," "Way of a Maid," "Chiv- 
alrous Charlie," "John Smith," "Be- 
yond the Rainbow," "Silas Marner," 
"Destiny's Isle," "Just Like a Wo- 
man," "Only 38," "Code of the 
Sea," "The Bedroom Window," 
"West of the Water Tower." 

Faye, Julia, actress — b. Richmond, Va. 
Now with Famous Players -Lasky. 

Fazenda, Louise, actress — b. Lafay- 
ette, Ind., 1895; educ. St. Mary's 
Convent and L. A. High School, Los 
Angeles; screen career, "Main 
Street," "Beautiful and Damned," 
"Quincy Adams Sawyer," "The 
Fog," "Being Respectable," "Gal- 
loping Fish." Ht. 5, 5; wt. 130; light 
brown hair, hazel eyes. 

Fellowes, Rockciiffe, actor — b. Ottawa, 
Lennoxville; screen career, "The 
Easiest Way," "Cup of Fury," 
"Bits of Life," "Island Wives," 
"Stranger's Banquet," "Flapper 
Wives," "Boy of Mine," "Penrod 
and Sam," "Signal Tower." Ht. 5, 
11; wt. 175. 

Ferguson, Helen, actress — b. Decatur, 
111.; educ. Chicago-Gaudy School, 
Academy of Fine Arts; screen expe- 
rience, "Hungry Hearts," "Un- 
known Purple." Ht. 5, 3; wt. 123; 
brown hair, brown eyes. 

Finlayson, James H., actor — b. Scot- 
land; screen career, "A Small Town 
Idol," "One Horse Town," "Cross- 
roads of New York," "Ma and Pa." 

Fitzmaurice, Geo., director — b. France; 
screen career, "Stop Thief," "Corn- 
gale," "Right to Love," "Idols ot' 
Clay," "Paying the Piper," "Expe- 
rience," "Forever," "Three Live 
Ghosts," "Man From Home," "To 
Have and to Hold," "Kick In," 
"Bella Donna." 

Fleming, Victor, director — b. Los An- 
geles. Pictures include "Law of the 
Lawless," "Anna Ascends," "Code 
of the Sea." 



BIOGRAPHY 



523 



Forman, Tom, director — b. Texas. Pic- 
tures include "The Virginian," 
"April Showers," "Broken Wing-." 
Foote, Courtenay, actor — h. Yorkshire, 
Eng.; educ. Oxford; early career, 
studied civil engineering; screen ca- 
reer, "The Passion Flower," "Fas- 
cination." 

Francisco, Betty, actress — b. and 
educ. Little Rock Ark. ; screen ex- 
perience, "Poor Men's Wives, "The 
Crinoline Romance," "The Love 
Piker," "Ashes of Vengeance," "A 
Noise in "Newboro," "Across the 
Continent," "While Satan Sleeps." 
Ht. 5, 4V 2 ; wt. 115; blonde hair, 
hazel eyes. 

Freulich, Jack, director of still pho- 
tography — Universal City. 

Gade Sven, director — b. Denmark. 

Gannon, Pat, still cameraman. 

Gaudio, Tony, cinematographer — b. 
Italy. Pictures photographed include 
"Ashes of Vengeance," "Within the 
Law," "East Is West." 

Gerson, Paul, actor, director, produc- 
er. Founder Paul Gerson Picture 
Corporation. Founder and Head of 
the Paul Gerson Training Schools of 
Hollywood. 

Gravina, Ceasare, actor — Universal 
"Foolish Wives," "Merry-Go-Round," 
"God's Country and the Law," "Dad- 
dy," "Circus Days," "Butterfly," 
"The Rose of Napoli." 

Griffith, Corrine, actress — b. Texar- 
kana, Texas. Pictures include "The 
Common Law," "Lillies of the 
Field," "Black Oxen." 

Geraghty, Carmelita, actress — b. Rush- 
ville, Ind. ; educ. N. Y. C; screen 
career, "The Eternal Three," 
Daughters of Mother McGuire," 
"Rosita," Jack Dempsey Series. Ht. 
5, 3V 2 ; wt. 120; brown hair brown 
eyes. 

Gibson, Hoot, actor — b. Tekamah, 
Nebr., 1892; early career, cowboy, 
with Bud Atkinson's circus to Aus- 
tralia; screen career, since 1911, 
"Hazards of Helen," "Action," "Red 
Courage," "Sure Fire," "Should 
Husbands Mind Babies," "The Fire 
Eater," "Headin' West," "The Bear 
Cat," "Step On It," "Trimmed," 
"The Loaded Door," "The Galloping 
Kid," "The Lone Hand," "Ridin' 
Wild," "Kindled Courage," "The 
"Gentleman from America," "Sin- 
gle Handed," "Dead Game," "The 
Cactus Kid." Ht. 5, 10; wt. 160; 
light hair and blue eyes. 

Guerin, Bruce, child actor — b. Los An- 
geles. Pictures include "Brass," 
"Drifting." 

Gilbert, John, actor — b. Logran, Utah, 
1895; educ. Hitchcock Mil. Acad., 
screen career, "Heart of the Hills," 
"Ladies Must Live," "White Heath- 
er," "The White Circle," "Servant 
in the House," "Glean o' Dawn," 
"Monte Cristo," "Arabian Love," 
"The Yellow Stain," "Honor First," 
"Calvert's Valley," "The Love 
Chamber," "A California Romance," 
"Truxton King," "Madness of 
Youth," "While Paris Sleeps." Now 
under contract to Metro-Goldwyn- 
Mayer. 

Glyn, Elinor, writer — b. England; educ. 
there and Paris; author of "Three 
Weeks." 

Goodwin, Harold, actor — b. Peoria, 
111., Dec. 1, 1902; educ. there; began 
picture career at the age of 12; 



screen career, "Suds," "The Road 
Demon," "Oliver Twist, Jr." "The 
Rosary," "Man to Man," "Tracked 
to Earth," "The Bear Cat," The 
"Flirt," "Kissed," "Kindled Cour- 
age," "Seeing's Believing," "The 
Bootlegger's Daughter," "Alice 
Adams," "Fools First," "The Want- 
ers," "Gentle Julia," "Arizona Ex- 
press," "The Strange Woman." 
Gordon, Huntley, actor — b. Montreal, 
Can.; educ. Banister Court School, 
England; screen career, "The Fa- 
mous Mrs. Fair," "Fatal Millions," 
"Your Friend and Mine," "Chasti- 
ty," "Blue Beard's Eighth AVife," 
"Three Weeks," "True as Steel," 
"Wine." 

Gowland, Gibson, actor — b. England; 
"Greed," "Ladies Must Live," "The 
Right of Way," "White Heather," 
"Blind Husbands," "The Harbor 
Lights," "Shifting Sands," "The 
Hawk." Ht. 6; wt. 196; brown curly 
hair, dark blue eyes. 

Graham, Garrett, director of publicity 
—Hal Roach Studio. 

Hansen, Juanita, actress — b. Des 
Moines, Iowa; extensive screen ca- 
reer. Ht. 5 ft.; wt.115; blonde hair, 

Harlan, Kenneth, actor— b. N. Y. C, 
1895; educ. N. Y. C; stage career, 
lead with Gertrude Hoffman; played 
in "The Fortune Hunter," "The 
Country Boy"; screen career, "The 
Whim," "Love, Honor and Obey," 
"The Bossmore Case," "Dangerous 
Business," "Mamma's Affair," 
"Lessons in Love," "Beauty and 
Brains," "The Beautiful and 
Damned," "The Girl Who Came 
Back," "The Broken Wing," "The 
Virginian," "Butterfly." Ht. 6; wt. 
180; brown hair, dark eyes. 

Harris, Fred W., location director, Fa- 
mous Players-Lasky Corporation — 
b. Cherokee, Iowa, 1888; educ. public 
and high schools; graduate Iowa 
State College in mechanical engi- 
neering; Paramount for last ten 
years. 

Hart, William S., actor — b. Newburgh, 
N. Y. ; stage career, debut at 19; 
screen career, "The Tiger Man,". 
"Shark Monroe," "Branding Broad- 
way," "The Poppy Girl's Husband," 
"Wagon Tracks," "John Petticoats," 
"Sand," "The Toll Gate," "The Cra- 
dle of Courage," "O'Malley of the 
Mounted," "The Testing Block," 
"The Whistle," "White Oak," "Tra- 
velin' On," "Three Word Brand," 
"Wild Bill Hickok" Ht. 6, 1; wt. 
190; brown hair, blue eyes. 

Hawley, Wanda, actress — b. Scranton, 
Pa.; educ. Seattle, Wash., and N. Y.; 
screen career, "Old Wives for New," 
"For Better, For Worse," "Her Face 
Value," "Her Sturdy Oak," "The 
Love Charm," "Too Much Wife," 
"Bobbed Hair," "The Affairs of Ana- 
tol," "The Truthful Liar," "The AVo- 
man Who AValked Alone," "Burning- 
Sands," "The Young Raja," "Thirty 
Days," "Nobody's Money," "Brass 
Commandments," "The Alan from 
Brodney's," "Bread," "The Great 
Chicago Fire." Ht. 5, 3; wt. 110; 
blond hair, grayish-blue eyes. 

Hershot, Jean, actor and director— b. 
Copenhagen, Denmark; educ. Copen- 
hagen; stage career, 12 yrs in Den- 
mark, Sweden and Norway; screen 
career, "Tess of the Storm Coun- 



524 



BIOGRAPHY 



try," "Four Horsemen of the Apo- 
calypse," "Jazzmania," "Greed," 
"Red Lights," "Strangers Ban- 
quet," "Free Love." Ht. 5, 11; wt. 
190; brown hair, blue eyes. 

Hesser, Edwin Bower — Photographer 
to the motion picture profession and 
before the war a student of art, in- 
cluding painting and sculpture. 

Higgin, Howard, writer — b. Denver, 
Colo.; educ. Pratt Institute, Brook- 
lyn, N. Y., and University of Wash- 
ington, Seattle; interior decorator; 
screen career, production manager 
for C B. De Mille, Marshall Neilan, 
King Vidor, Fred Niblo. 

Hines, Johnny (Torchy), actor — b. 
Golden, Colo., July 25, 1895; educ. 
Pittsburgh and C. C. of N. Y. ; 8 
yrs. on stage; screen career, "Miss 
Petticoats," "Tillie Wakes Up," 
"Alias Jimmy Valentine," "A Scrap 
of Paper," "Neighbors," "The Little 
Intruder," "Hearts of Gold," "Three 
Green Eyes," "Eastward Ho!," 
"Sure Fire Flint," "Burn 'Em Up 
Barnes," "Luck," "Little Johnny 
Jones," "Conductor 1492." Ht. 5, 9; 
wt. 150; dark hair, brown eyes. 

Holland, Cecil, make-up expert, actor 
— b. Gravesend, Kent, England; 
stage career, 5 yrs. legitimate stock 
and rep.; screen career, "The 
Great Impersonation,," "Moran of 
the Lady Letty," "The Woman Who 
Walked Alone," "Burning Sands," 
" P e n r o d, " "Bishop of Ozarks," 
"Love and Glory," "Rendezvous." 

Holland, Harold, actor — b. Gravesend, 
Kent, England; educ. Margate Col- 
lege, Eng.; stage career, 8 yrs. exp. ; 
screen career, 9 yrs., "Thp 
ders," "Black Roses," "Come on 
Over," "Skin Deep." Ht. 5, 11; wt. 
200; brown hair and eyes. 

Home, James — b. San Francisco; educ. 
there; stock at Alcazar Theatre, 10 
yrs.; screen career since 1912; late 
pictures, "The Hottentot," "Ali- 
mony," "The Man of Action," "The 
Sunshine Trail," "Blow Your Own 
Horn." 

Holt, Jack, actor — b. Winchester. Va. ; 

/ educ. V. M. I.; stage exper., 4 sea- 
sons stk.; screen career, Universal, - 
Select. Paramount. Ht. 6: wt. 173; 
dark brown hair and eyes. 

Hoxie, Jack, actor — b. Oklahoma; 
early career, raised on cattle ranch, 
was cowboy, won several champion- 
ships as trick and fancy rider of 
horses; screen career, "Thunder- 
bolt Jack," "Man from Nowhere," 
"Dead or Alive," "Cyclone Bliss," 
"Barbed Wire," "Riders of the 
Law',' "Gallopin' Through," "The 
Forbidden Trails," "Don Quickshot 
of the Rio Grande," "The Man in 
the Raw." Ht. 6; wt. 198; brown 
hair, blue eyes. 

Hughes, Diana, actress — b. Logan, 
Utah; educ. in Utah: 3 yrs. vaude- 
xVe; screen career, "Souls for Sale," 
"Broadway Gold," "Ponjola, " 
"Burning Words," "Ashes of Ven- 
gance," "Phantom Fortune," "Rou- 
ged Lips," "Flaming Youth," "The 
New Mailman." 

Hughes, Laurence — b. and educ. Mel- 
bourne, Australia; extensive stage 
and screen career. Author "The 
Truth About the Movies." 

Hughes, Rupert, writer and director — 
Also scenario writer, b. Lancaster, 
Mo.; educ. Adelbert College, West- 



ern Reserve Univ., M. A. Yale; 
stage career, author of plays, also 
continuity writer. 
Iribe, Paul, art director for Wm. De 
Mille, Paramount West Coast Stu- 
dios. 

I nee. Thos. H., producing director — 
b. Newport R. I. 1882; appointed di- 
rector general NYMP 1909; direc- 
tor general and one of the three 
vice-presidents in charge of manu- 
facturing triangle. 

Ingram, Rex, director — b. Dublin, Ire- 
land. 1892; educ. St. Columbia's Col., 
Dublin, and Yale; studied sculpture 
under Lawrie; stage career, panto- 
mime abroad; screen career, Edison 
and Vitagraph, scenarist of Fox 
Productions. 

Johnson, Adrian, writer — b. Knoxville, 
college, Belmont, N. C; screen ca- 
reer, "Royal Romance," "Heart and 
Soul," "Every Girl's Dream," "Ca- 
mille," "Cleopatra," "DuBarry," 
"Romeo and Juliet," "Under the 
Yoke," "Salome," "The Firebrand," 
"Her Greatest Love," "The Darling 
of Paris," "Miracle of Love." 

Johnson, Edith, actress — b. Rochester, 
N. Y., 1895; educ. Vassar College,; 
screen career, "Smashing Barriers," 
"Steelheart," "Where Men Are 
Men," "No Defense," "The Silent 
Vow," "The Fighting G u i d e," 
of the Night." Ht. 5, 4; wt. 135; 
light hair, brown eyes. 

Johnson, Emr-oy, director — b. San 
Francisco. Pictures directed are 
"The Mail Man," "Third Alarm," 
"Name the Law," "Westbound Lim- 
ited." 

Johnston, Juianne, actress — b. India- 
napolis; educ. there; stage career, 
solo dancer with Ruth St. Denis, 
Keith and Pantages circuits; screen 
career, "Sitting on the World," 
"Seeing It Thru," "Better Times," 
"Miss Hobbs," "Youth," "Thief of 
Bagdad." Ht. 5, 6; wt. 120; brown 
hair, gray eyes. 

Johnston, LeRoy, director of publicity 
— Frank Lloyd Production. 

Jones, Charles Buck, actor — b. Vin- 

' cennes, Ind. ; educ. Indianapolis; 
screen career, "Riders of the Pur- 
ple Sage," "One Man Trail," "To 
a Finish," "Bar Nothing," "Riding 
With Death," "Pardon My Nerve," 
"Western Speed," "Rough Shod," 
"The Fast Mail," "Trooper O'Neil," 
"West of Chicago," "Bells of San 
Juan," "Boss of Camp 4," "The 
Footlight Ranger." Ht. 5, 11%; wt. 
173; brown hair, gray eyes. 

Joy, Leatrice, actress — b. New Or- 
leans, La. Pictures include "Man- 
slaughter," "The Ten Command 
ments." 

Julian, Rupert, director — b. New Zea- 
land. Pictures include "Love and 
Glory," "Merry Go Round." 

Keaton, Buster, actor — b. Kansas; 
stage career, vaud., 16 yrs. with 
"The Three Keatons" ; screen ca- 
reer, "The Butcher Boy," "A Reck- 
less Romeo," "Rough House," "His 
Wedding Night," "Fatty at Coney 
Island," "A Country Hero," "The 
Bell Boy," "Moonshine," "Good 
Night Nurse," "One Week," "The 
Sign," "The Goat." Ht. 5, 6; wt. 
140; dark complexion, black hair, 
brown eyes. 

Kellerman, Annette, actress, dancer, 
swimmer, etc. — b. Australia. 



BIOGRAPHY 



525 



Kenyon, Albert G., author, director— 
b. San Francisco, 1884; educ. Univ. 
Cal.; stage exper., actor with Mar- 
garet Illington, Sidney Drew, pro- 
duced own vaud. sketches; screen 
career, "The Girl With Green Eyes," 
"Bogus Jimmie," "Bird of Prey," 
"The Crucible," "The Spenders," 
"Bavu," "The Monters," "The Coun- 
try Doctor." 

Kenyon, Chas. T author — b. San Fran 
cisco, 1890; grad. Stanford Univ. and 
Univ of Calif.; stage career, play- 
wright and author. 

Key, Kathleen, actress — "Where is my 
Wandering Boy Tonight," "Beauti- 
ful and Damned." 

Kerry, Norman, actor — b. N. Y. ; educ. 
St. John's Military Acad., Annapo- 
lis, Md.; screen career, "Up the 
Road With Sally," "Good Xight, 
Paul," "Soldiers of Fortune," "The 
Splendid Hazard," "Passion's Play- 
ground," "Get-Rich-Quick Walling- 
ford," "Three Live Ghosts," "Find 
the Woman," "The Man From 
Home," "Till We Meet Again," 
"Brothers Under the Skin," "Merry - 
Go-Round," "The Hunchback of 
Notre Dame," "The Acquittal," 
"Butterfly," 

Kirkwood, James, actor and director — 
b. Grand Rapids Mich. Pictures in- 
clude "Pink Gods," "Ponjola," 
"Wandering Husbands." 

Kosloff, Theodore, actor — b. and educ. 
Moscow, Russia; screen career, 
"Children of Jazz," "Law of the 
Lawless," "Adam's Rib," "To Have 
and to Hold," "The Lane that Has 
No Turning," "A Fool's Paradise," 
"Forbidden Fruit." 

Lacy, Andre, actor. 

Laemmle, Carl, producer, Universal 
Pictures. 

Laemmle, Edward, director — b. Chi- 
cago, 111., 1889; educ. Armour Inst, 
of Technology; screen career, "Win- 
ners of the West," "Fair Fighting," 
"Top o' the Morning," "In the Davs 
of Buffalo Bill," "The Oregon Trail," 
"The Victor," "The Rose of Xapoli." 

LaMarr, Barbara, actress — b. Rich- 
mond, Va. Pictures include "Strang- 
ers of the Night," "Shooting of Dan 
McGrew," "White Moth." 

Lancaster, John — Artists' Booking Ex- 
change, Hollywood, Calif. 

Landy, George, director of publicity — 
b. N. Y. C; educ. Col. of the City 
of N. Y., Columbia Univ.; magazine 
writer and editorial experience; film 
career, director exploitation Select 
Pictures Corp., publicity director 
Richard Walton Tully Prods., west- 
ern publicity First Nat'l Pictures, 
Jackie Coogan Prods. ; now conduct- 
ing independent publicity organiza- 
tion in Hollywood. 

La Plante, Laura, actress — b. St. 
Louis, Mo., Nov. 1, 1904; educ. Los 
Angeles; screen experience, 3 yrs., 
"Old Swimmin' Hole," "The Wall 
Flower," "Dead Game," "Perils of 
Yukon," "Shell Shocked," "Around 
the World in 18 Days," Butterfly." 
Ht. 5, 2; wt. 112 brown hair, gray 
eyes. 

La Rocque, Rod, actor — b. Chicago, 
111.; educ. Nebraska; stage career, 
"Nice People," "Anna Ascends," 
"Thy Name is Woman," screen ca- 
reer, "Life," "Playing the Piper," 
"What's Wrong with the Women," 
"Notoriety," "The Challenge," "Slim 



Shoulders," "Jazzmania," "The Ten 
Commandments," "Code of the Sea," 
"The French Doll," "Society Scan- 
dal," "Triumph," "Feet of Clay." 
Ht. 6, 3; wt. 181; black hair, brown 
eyes. 

La Rue, Fontaine, actress — Educ. N. 
Y. Schl. of Dramatic Art; stage ca- 
reer, professional toe and Oriental 
dancer, stk., Chicago 2 yrs.; screen 
career, "Beyond," "The Great Im- 
personation," "Exit the Vamp," 
'The Bear Cat," "The Love Letter," 
"The Blind Bargain." Ht. 5, 5; wt. 
130; light brown hair, dark eyes. 

Lasky, Jesse, producer — Paramount- 
Lasky Corporation. 

Lawrence, Florence, editor music and 
drama, Los Angeles Examiner. 

Lawrence, Frank, Film Editor Univer- 
sal. 

Lease, Rex, actor — See article, "My 
Trip to Hollywood," for complete bi- 
ography. 

Lee, Florence, actress, plaving oppo- 
site Jack Dempsey.in several of his 
late "Fight and Win" series for 
Universal Pictures. 

Lee, Lila, actress — b. New York. Pic- 
- tures include "Blood and Sand," 
"Daughter of Two Worlds," "Wan- 
dering Husbands." 

Leonard, Robert, director— b. Denver 
Colo. ; stage career, with Calif Opera 
Co.. property manager, comedian, 
stage manager in comic opera and 
drama, has sung in over 100 light 
operas; screen career, Universal, 
Cosmopolitan. 

Lesser. Sol, producer — President of 
Principal Pictures, vice-pres. West 
Coast Theatres, vice-president of 
First Nat'l Pictures. 

Lester, Kate, actress— b. England; ex- 
tensive screen career. Pictures in- 

. elude "Hunchback of Notre Dame " 
."Quincy Adams Sawyer." 

Littlefield, Lucien, actor, makeup ex- 
pert— b. San Antonio, Tex.; exten- 
sive stage and screen career; "Pal- 
ace of the King," etc. 

Livingston, Marguerite, actress — b 
•and educ. Salt Lake City, Utalv 
screen experience 5 yrs. leads and 
heavies, "Lying Lips," "Robinson 
Crusoe," "Social Buccaneer," "Lea- 
ther Pushers," "Water, Water. 
Everywhere," "House of a Thousand 
Candles," "Colorado Pluck " "Di- 
vorce," "Wandering Husbands," 
Loves Whirlpool," "After Marri- 
t ge ' + ,?I er Carriage Vows." Ht.5, 
-; wt. 118; auburn hair, brown eves 

Lloyd, Frank, director, producer Frank 
Lloyd Productions — b. Glasgow, 
Scotland; stage career, stock, rep' 
came to America at head of Wal- 
ker's rep. companies, also vaud ; 
screen career, "The Invisible 
Power," "The Man from Lost river " 
"The Sin Flood," "The Grim Come- 
dian, "The Eternal Flame," "The 
Voice from the Minaret." "Oliver 
Twist," "Ashes of Vengance," "The 
Sea Hawk." 

Lloyd, Harold, actor, producer — Exten- 
sive screen career, "Girl Shy," etc. 

Long, Walter, actor — b. Milford, N. 
H., 1884; educ. Nashua, N. H. ; stage 
career, stk. rep. and vaud., with 
Holbrook Blinn, H. B. Warner, and 
Frohman; screen career, "Birth of 
a Nation," "Intolerance," "Blood 
and Sand," "The Sheik," "The Die- 



526 



BIOGRAPHY 



tator," "Kick In," "My American 
Wife," "To Have and to Hold," 
"Moran of the Lady Letty," 
"Wine," Ht 5, 11; wt. 200, brown 
hair, gray eyes. 

Lubitsch, Ernst, director — b. and educ. 
Berlin; stage career, 7 yrs. ; screen 
career 10 yrs. "Passion," "One 
Arabian Night," "Gypsy Blood," 
"Deception," "The Loves of Phar- 
aoh," "Rosita," "Marriage Circle," 
"Montmarte." 

Lyon, Ben, actor — b. Atlanta, Ga.. 
y screen career, "Flaming Youth," 
"White Moth,"; now playing First 
National Productions, United Stu- 
dios, Hollywood. 

Louis, Wiilard, actor— b. San Fran- 
cisco, April 19, 1886; educ. Berkeley, 
Calif., and Hopkins Institute; played 
in "Madame X," "The Road to. Des- 
tiny," "Robin Hood," "Lady of 
Quality," "Beau Brummel," "Bab- 
bitt." Ht. 5, 10; wt.250; brown hair, 
brown eyes. 

MacDermott, Marc, actor — b. London, 
Eng.; educ. Australia; stage career, 
7 yrs. screen career, "Blind Wives," 
"Footlights," "The Spanish Jade," 
"The Amazing Lover," "Lights of 
New York," "Dorothy Vernon of 
Haddon Hall." Ht. 6; wt. 175; brown 
hair, brown eyes. 

MacDonald, Wallace, actor — b. Mul- 
grave, N. S., Canada; educ. Canada; 
screen career, "The Spoilers," "The 
Day of Faith," "Angel Face Molly," 
"Maytime." Ht. 5, 11; wt. 150; dark 
brown hair, dark brown eyes. 

MacGregor, Harmon, actor, screen ca- 
reer, "Vengance of the Deep," 
"Slaves of Desire," "Clay of Caro- 
lina." 

MacLean, Douglas, actor — b. Philadel- 
phia; educ. Northwestern Univ.,. 
Lewis Institute of Technology, Chi- 
cago; stage experience, Maude 
Adams, Morosco Stock Co., Los An- 
geles; screen experience, "Twenty- 
three and one-half Hours' Leave," 
"Mary's Ankle," "The Jail Bird," 
"The Home Stretch," "One a Min- 
ute," "The Hottentot," "Bell Boy 
13," "The Sunshine Trail," "Never 
Say Die," "Going Up." Ht. 5, 11%; 
wt. 185; brown hair, brown eyes. 

MacPherson, Jeannie, writer — b. Bos- 
ton, Mass.; educ. Paris, France; 

Marcelli, Ulderico, composer and con- 
ductor — Born in the musical atmos- 
phere of Rome, Italy, in 1885. 

Marmont, Percy, actor — educ. St. 
Anne's, Redhill, Surrey, Eng.; stage 
career with Sir Herbert Tree; screen 
career, "The Branded Woman," 
"The Price," "Wife Against Wife," 
"The First Woman," "If Winter 
Comes," "The Light That Failed," 
"K." 

Marshall, Tully, actor — b. Nevada City, 
Cal.; educ. Santa Clara Coll., Cal.; 
stage career, 36 yrs. actor, mana' 
ger, director and producer. 

Mathis, June, writer — Now with 
Metro-Goldwyn-Mayer. 

Mayne, Eric, actor — b. Dublin, Ire- 
land; educ. Westminster School, 
Yorkshire College, and Durham Uni- 
versity; stage experience, Drury 
Lane Co., London, Eng., 7 yrs.; 
Chas. Frohman 3 yrs., Lyceum The- 
ater, London, 4 yrs.; screen expe- 
rience, "The Conquering Power," 
"Turn to the Right," "The Silver 
Car," "Suzanna," "Dr. Jack," "The 



World's Applause," "Never Say 
Die," "Yankee Consul," "Drums of 
Jeopardy," "Broken Barriers," Ht. 
6; wt. 180; brown and gray hair, 
hazel brown eyes. 

McDowell, Nelson, actor — b. Mo.; educ. 
Northwestern Univ. ; stage career, 
stk., 4 yrs. lecturer; screen career, 
"Chasing Rainbows," "Riders of the 
Dawn," "Home Stuff," "Last of the 
Mohicans," "Oliver Twist," "Girl of 
the Golden West." Ht. 6, 2; wt. 180; 
brown hair gray eyes. 

McGuire, Kathryn, actress — b. Peoria, 
111.; educ. Danville, 111.; Aurora, 111., 
and Hollywood; screen experience, 
"The Silent Call," "The Cross Roads 
of New York," "The Sheik of Ara- 
by," "Playing With lire," "The 
Flame of Life," "Breaking the 
Line," "The Woman of Bronze," 
"The Printer's Devil," "The Silent 
Accuser," "Beyond the Veil," "Sher- 
lock Jr.," "The Navigator." Ht. 5. 
4; wt. 124; light brown hair, hazel 
eyes. 

McGuire, Tom, actor — b. Yorkshire, 
Eng.; educ. Oxford and Cambridge; 
stage experience 25 years. 

Mclntyre, Robert B., casting director 
— Metro-Goldwyn-Mayer Studio. 

Madison, Cleo, actress — b. in Bloom- 
ington, 111. ; stage career began in 
Santa Barbara, Calif., playing leads 
in dramatic stock; starred in Uni- 
versal pictures 10 jnr's., the last pro- 
duction with them being "Black 
Orchids," "Dangerous Age," "True 
As Steel." 

Meighan, Thomas, actor — b. Pitts- 
burgh, Pa. educ. there; screen ca- 
reer, "The Miracle -Man,' "The 
Prince Chap," "Frontier of the 
Stars," "The Easy Road," "City of 
Silent Men," "White and Unmar- 
ried," "Piper Malone," "The Alas- 
kan." Ht. 6; wt. 170; black hair, 
brown eyes. 

Melford, George A., director — b. Roch- 
ester, N. Y.; educ. McGill Univ.; 
stage career 7 yrs.; screen career, 
"The Boer War," "The Invisible 
Power," "The Hostage," "The Call 
of the East," "Nan of Music Moun- 
tain," "Sandy," "The Bravest 
Way," "City of Dim Faces," "The 
Source," "Cruise of the Make Be- 
lieve," "Everywoman," "The Sea 
Wolf," "The Round-Up," "The 
Jucklins," "Behold My Wife," "The 
Faith Healer," "A Wise Fool," 
"North of 36," "The Light That 
Failed. 

Meredith, Charles H., actor — b. Pitts- 
burgh, Pa.; educ. Carnegie Institute; 
stage career, New York and Los An- 
geles; "Little 'Fraid Ladv," "The 
Cradle," "Beyond," "Hail The Wo- 
man,' "The Beautiful Liar," "Cave 
Girl," "Woman," "Wake Up," "Fool- 
ish Matrons." 

Meredyth, Bess, writer — b. and educ. 
Buffalo, N. Y. ; stage career, stock 
and vaud. ; screen career, "Stran- 
gers of the Night,' "The Famous 
Mrs. Fair," "The Dangerous Age," 
"One Clear Call," "Grand Lar- 
ceny," "The Grim Comedian." "La- 
dies Must Live," "Man, Woman and 
the Devil." 

Milford, Mary Beth, actress. 

Miller, Carl, actor — b. Wichita County, 
Texas; educ. Univ. of Texas; stage 
experience, 2 yrs., vaudeville; screen 
experience, asst. cameraman and di- 



BIOGRAPHY 



527 



rector, "The Doctor and the Wo- 
man," "Mary Regan," "Tempest 
Cody" series, "Cinderella of the 
Hills," "The Bride's Play," "The 
Kid," "Public Opinion," "A Wo- 
man of Paris." Ht. 6; wt. 160; black 
hair, dark brown eyes. 

Miller, Marilyn, actress — Star of mu- 
sical comedy, "Sally." 

Miller Patsy Ruth, actress — b. and 
educ. St. Louis; screen career, "The 
Affairs, of Anatol," "The Sheik," 
"Camille," "Where is My Wandering 
Boy Tonight?," "Handle AVith Care," 
"Watch Your Step," "Remem- 
brance," "The Figuring Streak," 
"For Big Stakes," "Hunchback of 
Notre Dame," "Fortune's Mask," 
"Omar, The Tentmaker." Ht. 5, 
2%; wt. 108, brownhair and eyes. 

Miller, Virgle E., cameraman — b. Sof- 
feen, 111.; educ. Kansas State Rg. 
Coll.; early career, electrical engi- 
neer; screen career "Red 
Courage," "Sure Fire," "Cheated 
Hearts," "The Scrapper," "The Man 
Under Cover," "The Black Bag," 
"Don't Shoot," "The Lone Hand," 
"Ridin' Wild," "The Flame of Life," 
"Kindled Courage," "The Scarlet 
Car," "Single Handed," "Nobody's 
Bride," "Out of Luck." 

Mix, Tom, actor; also writer and di- 
rector — b. Texas; educ. there; early 
career, rode the plains as a cow- 
boy; was a member of the Rough 
Riders during Spanish- American 
War. 

Montgomery, Marian Baxter, mother 
of Baby Peggy. 

Moore, Colleen, actress — b. Port Hu- 
ron, Mich. ; educ. Convent of Holy 
Name, Tampa, Fla. ; screen career, 
"The Wilderness Trail," "The Cy- 
clone," "Common Property," "The 
Man in the Moonlight," "Forsaking 
All Others," "The Devil's Claim," 
"The Skv Pilot,' "Flaming Youth," 
"His Nibs," "Come On Over," "The 
Wall Flower,' "The Nth Command- 
ment," "Broken Chains," "Affini- 
ties," "The Ninety and Nine," "The 
Perfect Flapper,' "April Showers." 

Moore, Matt, actor — b. Ireland; educ. 
Toledo, Ohio; screen career, "The 
Pride of the Clan," "Heart of the 
Wilds," "Twenty Thousand Leagues 
Under the Sea," "The Storm," "A 
Regular Fellow," "The Glorious 
Lady," "Whispers," "Madness of 
"The Dark Star," "Getting Mary 
Married," "The Passionate Pilgrim," 
"Straight Is the Way," 'Back Pay," 
"Strangers of the Night," "Minnie." 

Moreno, Antonio, actor — b. Madrid, 
1888; educ. Madrid, Catholic Sisters' 
Schl. and pub. schls. N. Y. City; 
screen career, "Secret of the Hills," 
"A Guilty Conscience," "My Ameri- 
can Wife," "Trail of the Lonesome 
Pine," "Look Your Best," "Lost and 
Found," "The Spanish Dancer," 
"Bluff," "Tiger Love." 

Morrison, James, actor — b. Mattoon, 
111.; educ. Univ. of Chicago; stage 
career, vaud., stk. ; screen career, 
"Sacred Silence," "Love Without 
Question," "When We Were Twen- 
ty-one," "Sowing the Wind," "The 
Nth Commandment," "The Danger- 
ous Age," "Held to Answer," "The 
Little Girl Next Door," "The Man 
Next Door," "The Unknown Pur- 
ple," "Black Beauty," "Over the 
Top." Ht. 5, 10; wt. 135; brown hair, 
brown eyes. 



Murfin, Jane, producer; also scenario 
writer — b. Quincy, Mich. ; educ. 
Ypsilanti Normal Training School, 

Murray, Charlie, actor — b. Laurel, 
Ind., 1872; educ. Cincinnati; stage 
career, 21 yrs. ; screen career, 
"Cross Roads of New York," "Faint 
Hearts," "Social Errors," "The Fatal 
Photo," "The Nuisance," "The Pill 
Pounder," "Painted People," "Lilies 
of the Field," "Sundown," "Luck." 
Ht. 6; wt. 208; red hair, gray eyes. 

Murray, Mae, actress — Star; b. Ports- 
mouth, Va.; educ. N. Y. C; stage 
career, Ziegf eld's Follies; screen ca- 
reer, "To Have and to Hold," "A 
Modern Maid," "The Bride's Awak- 
ening," "What Am I Bid?" "Deli- 
cious Little Devil," "Modern Love," 
"Twin Pawns," "A B C Love," "On 
With the Dance," "Right to Love," 
"Idols of Clay," "The Gilded Lily," 
"The French Doll. 

Nagel, Conrad, actor— b. Keokuk, la.; 
educ. Des Moines, la., Highland 
Park Col.; stage experience, stk., 
vaud.. 6 yrs.; screen career, "Fools' 
Paradise," "Saturday Night," "What 
Every Woman Knows," "The Eter- 
nal Three," "Tess of the D'Urber- 
villes." Ht. 6; wt. 160; blonde hair, 
dark eyes. 

Negri, Pola, actress — b. Poland; educ. 
there; stage career, first won recog- 
nition as star of Russian Imperial 
Ballet during Czarist regime; screen 
career, "Carmen," "The Eyes of the 
Mummy," "Camille," "Mad Love," 
"One Arabian Night," "The Blame 
of Love," "Bella Donna," "The 
Cheat," "Spanish Dancer," "Shad- 
ows of Paris," "Men," "Compro- 
mized." Ht. 5, 4; wt. 120; black 
hair, hazel eyes. 

Neilan, Marshall, director — b. San 
Bernardino, Cal., 1891; educ. Los 
Angeles Schools and military acad- 
emy; stage career, stk., San Fran- 
cisco and Los Angeles; screen ca- 
reer, "Rebecca of Sunnvbrook 
Farm," "Little Princess," "M'liss " 
"Stella Maris," "The Unpardonable 
bin, "Daddy Long Legs," "In Old 
Kentucky," "The River's End " 
"Don't Ever Marry," "Go and Get 
It, "Dinty," "Bob Hampton of 
Placer," "Bits of Life," "Minnie " 
"The Stranger's Banquet," "Fools 
First," "Lotus Eaters." 

Niblo, Fred, director— b. and educ. 
1 ork, Pa. ; stage career, 25 yrs 
starred and prod, own plays in 
every English-speaking country; 
screen career, feature director for 
Thos. H. Ince 2 yrs. 

Nilson, Anna Q., actress— b. Ystad, 
Sweden; extensive screen career 
Sweden and U. S. A.; late picture, 
Flowing Gold." 

Novarro, Ramon, actor — b. Durango, 

y Mexico; educ. in Mexico; stage ca- 
reer, 5 yrs., rep. and stk.; screen 
career, "Prisoner of Zenda," "Tri- 
fling Women," "Where the Pave- 
ment Ends," "Scaramouche." Ht. 
5, 10; wt. 160. 

Novak, Eva, actress — Screen career, 
"The Rough Diamond," "Trailin'," 
"Chasing the Moon," "Barriers of 
Folly," "Hell's River," "The Man 
Who Saw Tomorrow," "Making a 
Man," "The Tiger's Claw," "Dollar 
Devils," "A Noise in Newboro," 
"Temptation." 

Novak, Jane, actress— b. St. Louis, 
Mo.; educ. Notre Dame Convent; 



528 



BIOGRAPHY 



stage career, vaud., mus. com., stk., 
screen career "Isobel," 
"Great Accident," "Roads of Des- 
tiny " "Kazan," "The Barbarian, 
"The Other Woman," "Thelma," 
"Three Word Brand," "The Ros- 
ary," "Belle of Alaska." Ht. 5, 7; 
wt. 135; blonde hair, blue eyes. 
O'Connor, Mary, scenario and film ed- 
itor— Paramount-Lasky Film Corpo- 
ration. 

O'Donnel, Spec, child actor. 

O'Malley, Pat, actor— b. and educ. 
Dublin, Ireland; stage career, stk. 
in British Isles, France and Ger- 
many; screen career, "The Ten Dol- 
lar Raise," "The Breaking Point," 
"False Evidence," "Brothers Under 
the Skin," "Blooming Angel, Go 
and Get It," "Sherry," "Dinty, 
"Bob Hampton of Placer pan- 
dering Daughters," "My Wild Irish 
Rose," "The Last Hour," "Brass, 
"Fools' Highway," "Eternal Strug- 
gle " "The Fighting American, 
"The Beauty Prize," "The Vir- 
ginian." . ~. . 

Olmsted, Gertrude, actress— b. Chi- 
cago; educ. La Salle, 111.; won the 
Elks-Herald-Examiner Beauty Con- 
test immediately after high school 
graduation, and then began picture 
work with Universal. Ht. 5, 2; wt. 
117; chestnut-brown hair, gray-blue 
eyes 

Parrott, Charles, actor, director— Now 
in production, Hal Roach Studio, 
Culver City, Cal; ^ 

Paton, Stuart, director — b. Glasgow, 
Scotland, 1885; directed "Conflict," 
"Man to Man," "Black Bag," "One 
Wonderful Night," "Scarlet Car, 
"Married Flapper," "Bavu," "Burn- 
ing Words," "Wolf Law," "Reputa- 
tion." , , 

Perrin, Jack, actor — Pictures include 
"The Trooper," "Fighting Skipper," 
"Match Breaker," and many others. 

Peggy, Baby, child actress — Pictures 
include "The Darling of New York," 
etc. 

Peters, House, actor — b. Bristol, Eng- 
land. Screen career includes "Hu- 
man Hearts," "The Storm." Now 
under contract with Universal. 

Phi I bin, Mary, actress — b. Chicago; 
educ. there; screen career, "The 
Blazing Trail," "Danger Ahead," 
"Red Courage," "False Kisses," 
"Human Hearts," "Once to Every 
Boy," "Merry-Go-Round," "Penrod," 
• Fools' Highway." Ht. 5, 2; wt. 96; 
brown hair, hazel eyes. 

Phillips, Dorothy, actress — b. Balti- 
more, Md.; educ. there and Shaftes- 
bury College. 

Screen career, "Hell Morgan's Girl," 
"Heart of Humanity," "Man, AVo- 
man, Marriage," "Hurricane's Gal," 
"The World's a Stage." Ht. 5, 3V 2 ; 
wt. 123; chestnut hair, dark gray 
eyes. 

Pickford, Jack, actor — b. Toronto. 
Canada; late pictures, "The HiU 
Billy," 

Pickford, Mary, actress — b. Toronto, 
Can., 1893; stage career, juvenile 
parts at 5 yrs., Valentine Stock Co., 
Toronto, at 9 starred in "The Fatal 
Wedding." Ht. 5; wt. 100; golden 
hair, hazel eyes. 
*~ Pitts, Zasu, actress — b. Parsons, Kan., 
1898; educ. Santa Cruz; screen ca- 
reer, "Better Times," "Heart of 
Twenty," "The Other Half," "Poor 
Relations," "Is Matrimony a fail- 



ure?" "For the Defense," "Youth to 
Youth," "A Daughter of Luxury," 
"Poor Men's Wives," "Patsy, "The 
Girl Who Came Back," "Greed." Ht. 
5, 6; wt. 115; bhie eyes, brown hair, 
light complexion. 

Pollard, Harry A., director — b. Repub- 
lic City, Kan., 1883; screen career, 
director with American, Goldwin, 
National, World-Equitable, Frohman 
Amuse. Co., Universal. Ht. 5, 10; wt. 
170; black hair, blue eyes. 

Pollard, Snub, actor — b. Melbourne, 
Australia; extensive stage and 
screen career. 

Pretty, Arline, actress — b. Washing- 
ton, D. C, 1893. "Storm Swept," 
"Bucking the Barrier," "Love in the 
Dark," "Where the - Devil Drives," 
"Scarlet Shadows," "Rouged Lips." 
Ht. 5, 5; wt. 125; blonde hair, blue 
eyes. 

Prevost, Marie, actress — b. Sarnia, 
Canada, Nov. 8, 1898; educ. Denver; 
screen career, Mack Sennett Come- 
dies, "Old Swimmin' Hole." "Love, 
Honor and Behave," "A Small Town 
Idol," "Moonlight Follies." "Pari- 
sian Scandal," "Dangerous Little 
Demon," "Kissed," "Her Night of 
Nights," "The Married Flapper," 
"Heroes of the Street," "The Beau- 
tiful and Damned," "The Marriages 
Circle," "Brass," "How to educate 
a Wife," "Being Respectable." Ht. 
5, 4; wt. 123; dark hair, blue eyes. 

Pringle, Aileen, actress— b. San Fran- 
cisco. Pictures include "Palace of 
the King," "My American Wife," 
"Three Weeks." 

Printzlau, Olga,.. writer — b. Philadel- 
phia. Screen career, "Beautiful and 
Damned," "Burning Sands," "Little 
Church Around the Corner." 

Ralston, Esther, actress — b. Bar Har- 
bor Me., 1902; educ. Washington, 
D. C, and N. Y. C; stage star, 
Ralston Family; screen career, 
Devils," "Under Secret Orders," 
"The Phantom Fortune," "Timber 
and Treachery," "Remembrance," 
"Oliver Twist," "The Love Bandit." 
Ht. 5, 5; wt. 125; blonde hair, blue 
eyes. 

Ralston, Jobyna, actress — Pictures in- 
clude "Three Must-get-theirs," 
"Golf Bug." 

Ramsdell, Stanford Leland, producer — 
F. B. O. Studios, Hollywood, Cal. 

Randall, Bruce, costumer. 

Rawlinson, Herbert, actor — b. Brigh- 
ton, England, 1885; educ. Eng. and 
France; stage career, rep. and stk.; 
screen career, "Plavthings of Des- 
tiny," "The Turn of the Wheel," 
"Good Gracious Annabell," "The 
Man Trap," "Come through," 
"The Rose of Napoli." Ht. 6; wt. 
165; brown hair, blue eyes. 

Ray, Charles, actor and director — b. 
Jacksonville, 111., 1891; educ. Illinois 
and Los Angeles Polytech. Schl. ; 
Now with Thos. H. Ince Produc- 
tions. Ht. 6, y 2 ; wt. 170; dark brown 
hair, brown eyes. 

Reeves, Bob, actor — b. Texas; co- 
starred in 2-reel westerns, Univer- 
sal. 

Reynolds, Ben T., Cameraman — Uni- 
versal "Devil's Pass-Key," "Blind 
Husbands," "Foolish Wives," "The 
Acquittal," "Greed," "Signal 
Tower," "Butterfly." 

Rich, Lillian, actress — b. England; 
screen career, "Beyond," "Her So- 
cial Value," "Go Straight," "Man to 



BIOGRAPHY 



529 



Man," "The Bear Cat," "Afraid to 
Fight," "The Kentucky Derby," 
"One Wonderful Night," "Catch My 
Smoke." 

Rich, Irene, actress — b. Buffalo, N. Y. 
"Rosita," "Brass," "Main Street," 
"Boy of Mine." 

Riesner, Chuck, actor, director — See 
article, "How I Broke Into the Mov- 
ies," by Chuck Riesner, for complete 
auto biography. 

Roach, John, actor — Now with War- 
ner Bros. 

Roberts, Theodore, actor — b. San 
Francisco, Calif.; educ there; screen 
career, "Sweet Lavende r," 
"The Furnace," "Too Much Speed," 
"The Affairs of Anatol," "Exit the 
Vamp," "Miss Lulu Bett," "Satur- 
day Night," "Across the Continent," 
Man Who Saw Tomorrow," "Hail 
The Woman," "The Ten Command- 
ments," "Feet of Clay." Ht. 6; wt. 
195; gray hair, blue eyes. 

Rogell, Albert, author, director — b. Ok- 
lahoma City, Okla.; pictures directed, 
"The Greatest Menace," "The Queen 
of Hearts," "The Eagle Man," 
"When West Meets East," "West- 
ern Ways," "The Danger Point," 
"The Mark of Lopez," "North of 
Neveda," "Galloping Gallagher," 
"The Dangerous Coward," "The 
Bookworm Buckaroo," "The Great- 
est Menace," and 27 other features. 

Rogers, Will, actor — b. near Clare- 

^iiore, Okla. Pictures include "Hon- 
est Hutch," "Fruits of Faith," 
"Headless Horseman." 

Roland, Ruth, actress — b. San Fran- 
cisco, Calif.; screen career, "Adven- 
tures of Ruth," "Ruth of the Rock- 
ies," "The Avenging Arrow," "White 
Eagle," "The Timber Queen," "The 
Haunted Queen," Ht. 5, 4; wt. 122; 
reddish brown hair, violet eyes. 

Rubens, Alma, actress — b. San Fran- 
cisco. Pictures include "Enemies of 
Women," "Valley of Silent Men," 
etc. 

Ryan, James, casting director, Fox 
Studio. 

Schertzinger, Victor, director and 
composer — Directed "Palace of the 
King," "Kingdom Within"; com- 
posed "Marchetta" and "Just an 
Old Love Song." 
"Name the Man," etc. 

Sedgwick, Edward, director — Educ. St. 
Mary's Univ., Texas Univ.; screen 
experience, "Out of Luck," "The 
Gentleman from America," "Single 
Handed," "Flaming Hour," "The 
First Degree," "Shooting for Love," 
"Blinkey," "Dead Game," "Do and 
Dare." "Romance Land." 

Sedgwick, Eileen, actress — b. Galves- 
ton, Texas; educ, Ursuline Convent, 
Galveston, Texas; stage career, dra- 
matic stock, vaud., mus. com.; 
screen career, "Lure of the Cir- 
cus," "Radium Mystery," "Damned 
Queen," "Terror Trail," "Man and 
Beast." Ht. 5, 3; wt. 120; blonde 
hair, blue eyes. 

Sedgwick, Josie, actress — b. Galveston, 
Tex. ; educ. Ursuline Convent, Gal- 
veston; stage experience, dramatic 
stock, mus. com., vaud.; screen ex- 
perience, "Maternal Spark," "One 
Shot Ross," "Dare Devil Jack," 
"Jubilo," "Daddy," "Sunshine Trail," 
Ht. 5, 5; wt. 130; brunette hair, 
dark blue-gray eyes. 

Semon, Larry, actor; also director — 
b. West Point, Miss., 1889; educ. 



Savannah Ga. ; screen career, dir. 
Frank Daniels Comedies; "The Bell 
Hop," "The Saw Mill," "The Show," 
"A Pair of Kings," "Golf," "The 
Counter Jumper," "No Wedding 
Bells," "The Barnyard." 

Shallert, Edwin, editor "Preview," 
dramatic critic, Los Angeles Times. 

Shaw, Peggy, actress — b. and educ. 
Pittsburgh, Pa.; stage experience, 
Gus Edwards' "Bandbox Revue," 
Ziegfeld Midnight Frolic for 2 sea- 
sons; screen experience, "Who are 
My Parents?" "A Stage Romance," 
"My Friend the Devil," "The Cus- 
tard Cup," "Does it Pay?" "The 
Grail," "The Plunderers," Ht. 5, 2; 
wt. 110; brown hair, brown. eyes. 

Short, Gertrude, actress — b. Cincin- 
nati, 1901; stage career, at age of 
5 yrs. screen career, "Rent tree," 
"Boy Crazy," "Youth to Youth," 
"The Prisoner," "Headin West." Ht. 
5, 2; brown hair, blue eyes, light 
complexion. 

Scott, Sidney, director — Christie com- 
edies for past 6 yrs. 

Sills, Milton, actor — Extensive screen 
career; late picture, "Sea Hawk." 

Southern, Eve, actress — b. Texas; 
educ. there; previous career, singer: 
screen career, 2 yrs. "The Rage of 
Paris," "The Golden Gallows," 
"Trimmed in Scarlet," "After the 
Show," "Nice People," "The Girl 
in His Room," "Souls for Sale," 
"Remembrance." 

Standing, Wyndham, actor — b. Lon- 
don, Eng., 1880; educ. St. Paul's 
Col.; stage career, 1899; screen ca- 
reer, "Ave Marie," "The Iron Trail," 
"The Bride's Play," "S m i 1 i n' 
Through," "Hypocracy," "The In- 
ner Man," "The Isle of Doubt." 
"The Gold Diggers," "Blackmail," 
"Earthbound," "Eyes of the Soul," 
"Rose of the World," Ht. 6, 1; wt. 
180; brown hair, gray eyes. 

Stanley, Forest, actor- — b. England; 
extensive stage and screen career; 
"Tiger Rose," "Butterfly," "When 
Knighthood Was In Flower." 

Sterling Ford, actor — b. LaCrosse, 
Wis.; late pictures, "The Spoilers," 
"The Day of Faith," "Strangers 
Banquet," "Guardian Angel," "The 
Brass Bottle." 

Stevenson, Hayden, actor — b. George- 
town, Ky. ; educ. Georgetown and 
Lexington, Ky. ; screen career, "The 
Great Divide," "The Leather Push- 
ers," "The Abysmal Brute," "Reck- 
less Age," "Dary Stairway," "The 
Acquittal," "Blackmail," "Trifling 
with Honor," Jack Dempsey series. 

Stewart, Anita, actress — b. New York. 
Pictures include "Cain and Mabel," 
"Rose of the Sea," "Playthings of 
Destiny." 

Stewart, Roy, actor — b. San Diego, 
Calif. ; educ. Univ. of California, 
screen career, "The Sage Brush- 
er," "The Westerners," "Just a 
Wife," "Prisoner of Love," "Life's 
Greatest Question,' "The Snowshoe 
Trail," "Her Social Value," "A Mo- 
tion to Adjourn," "Back to Yellow 
Jacket," "The Innocent Cheat," 
"Ridin' Wild," "The Sage Brush 
Trail," "The Radio King," "Trim- 
med in Scarlet, ""Burning Words," 
"Hearts of Oak," "Under Secret 
Orders," "Timberland Treachery," 
"One-eighth Apache," "Sundown," 
"The Woman on the Jury." Ht.6, 
2; wt. 190; black hair, brown eyes. 



530 



BIOGRAPHY 



Stonehouse, Ruth, actress, extensive 
screen career. 

Sullivan, Eddie, actor — Star of new 
series "Leather Pushers." 

Suliivan, Jack, asst. director — "The 
Hunchback of Notre Dame," "Merry- 
Go-Round." 

Swanson, Gloria, actress — b. Chicago, 
111.; educ. there; screen career, 
"Male and Female," "Why 
Change Your Wife?" "Something to 
Think About," "The Affairs of Ana- 
tol," "Under the Lash," "Don't Tell 
Everything," "Her Husband's Trade- 
mark," "Beyond the Rocks," "Her 
Gilded Cage," "The Impossible Mrs. 
Bellew," "My American Wife," 
"Bluebeard's Eighth Wife," "Zaza," 
"The Humming Bird," "A Society 
Scandal," "Manhandled," "Her Own 
Love Story." Ht. 5, 3; wt. 112; 
brown hair, blue eyes. 

Sweet, Blanche, actress — b. Chicago; 
educ. Berkeley, Cal. ; stage career, 
screen career, "Judith of Bethulia," 
"Oil and AVater," "The Excape," 
"The Warrens of Virginia," "The 
Sto-m," "The Unpardonable Sin," 
"The Husband Hour," A Woman of 
Pleasure," "Cressy," "The Deadlier 
Sex," "Cinderella Jane," "Simple 
Souls," "The Girl in the Web," 
"Help Wanted— Male," "Her Wil- 
ling Husband," "That Girl Montana," 
"Quincy Adams Sawer," "Anna 
Chistie," "Palace of the King."Ht. 
5, 4; wt. 120; blond hair, dark gray 
eyes. 

Swickard, Charles, director and pro- 
ducer—Latest prod., "San Fran- 
cisco." 

Swickard, Josef, actor — Educ. Ger- 
many; stage career, dramatic and 
vaud. ; screen career, "Blind Youth," 
"Pawned," "Trumpet Island," "Sow- 
ing the Wind," "Serenade," "The 
Four Horsemen," "Mr. Billings 
Spends His Dime," "Robinson Cru- 
soe," "The Storm," "Daughters of 
the R i c h," "Mothers-in-Law," 
"Cricket on the Hearth," "The eter- 
nal Struggle," "Maytime," "Bavu." 
Ht. 5, 10; wt. 155; gray hair, dark 
blue eyes. 

Talmadge, Constance, actress — .b. 
Brooklyn, Apr. 19, 1900; educ. Eras- 
mus Hall H. S.; screen career, "In- 
tolerance," "Scandal," "The Honey- 
moon," "Up the Road With Sally," 
"A Pair of Silk Stockings," "Mrs. 
Goose," "Romance and Arabella," 
"A Tempermental Wife." "The Vir- 
tuous Vamp," "Two Weeks," "The 
Love Expert," "In Search of a Sin- 
ger," "The Perfect Woman," "Good 
References," "Dangerous Business," 
"Mamma's Affair" "Lessons in 
Love," "Wedding Bells," "A Wo- 
man's Place," "Poly of the Follies," 
"The Primative Lover," "East is 
West," "Dulcy." Ht.5, 5; wt. 120; 
golden hair, brown eyes. 

Talmadge, Natalie, actress — Exten- 
sive stage and screen career. 

Talmadge, Norma, actress — b. Niag- 
ara Falls, N. Y., 1897; educ. Brook- 
lyn schls., entered motion pictures 
at age of 14 with no previous stage 
experience; screen career, "The 
Crown Prince's Double," "The So- 
cial Secretary," "Panthea," "The 
Ghosts of Yesterday," "De Luxe 
Annie," "Her Only Way," "The 
Forbidden City," "The Heart of We- 
tona," "The Probation Wife," "The 



New Moon," "The Way of a Wo- 
man," "The Isle of Conquest," "She 
Loves and Lies," "Daughters of 
Two Worlds," "The Woman Gives," 
"Yes or No," "The Branded Wo- 
man." "The Passion Flower," "The 
Sign on the Door," "The Wonder- 
ful Thing," "Love's R e d e m ption," 
of Vengance," Pit. 5, 2; wt.110; 
dark brown hair, brown eys. 

Taylor, Estelle, actress — b. Wilming- 
ton, Del.; educ. Wilmington schls.; 
stage career, "Come on, Charlies"; 
screen career, "Footfalls," "While 
New York Sleeps," "Monte Ciisto," 
"A Fool There Was," "Lights of 
New York," "A California Romance," 
"Thorns and Orange Blossoms," "The 
Ten Commandments," "Only a Shop 
Girl," "Desire," "Tiger Love," "The 
Alaskan." Ht. 5, 4^; wt.129; dark 
brown hair, brown eyes. 

Tearle, Conway, actor — b. N. Y. C, 
1882; screen career, 
"The i all of the R o m a n o ff s," 
"Stella Maris," "The Rustle of Silk," 
"Belladonna," "One Week of Love," 
"The Common Law," "Virtuous 
Wives," "A Virtuous Vamp," "Mind 
The Paint Girl," "Two Weeks," "The 
Eternal Flame," "Ashes of Ven- 
gance," "Black Oxen," "The White 
Moth," Ht. 5, 10y 2 ; wt. 160; dark 
brown hair, brown eyes. 

Terry, Alice, actress — b. Vincennes, 
Ind. ; educ. Los Angeles; screen ca- 
reer, "Hearts Are Trumps," "The 
Four Horsemen," "The Conquering 
Power," "Turn to the Right," "Pri- 
soner of Zenda," "Where the Pave- 
ment Ends," "Scaramouche." Ht. 
5, 6; wt. 130; blonde hair, blue eves. 

Thompson, Fred, actor, famous ath- 
lete. Pictures include "Eagle's Tal- 
ons." 

To'hurst, Louis H. — Inventor of th« 
Cool Light; well-known scientist and 
producer of microscopic motion pic- 
tures for Principal Pictures Corp. 

To~rence, Ernest, actor — b. England. 
Pictures include "Hunchback of 
Notre Dame," "Covered Wagon," 
"Ruggles of Red Gap." 

Tourneur. Maurice, director — b. and 
educ. Paris, France; early career, 
painter; screen career, "Trilby," 
"Treasure Island," "The Bluebi~d," 
"The Whip," "Sporting Life," "Pru- 
nella," "Last of the Mohicans," 
"Lorna Doone," "The Christian," 
"White Moth." Member M. P. D. A. 

Valentino, Rudolph, actor — b. Castel- 
laneta, Italy; educ. Mil. and Agri- 
cultural Col. in Italy; screen career, 
"Eyes of Youth," "Passion's Play- 
ground," "The Four Horsemen of 
the Apocalypse," "The Wonderful 
Chance," "Camille," "The Sheik," 
"Moran of Lady Letty." "Bevond 
the Rocks," "Blood and Sand," "The 
Young Rajah," "Frivolous Wives," 
"A Rogue's Romance," "Monsieur 
Beaucaire." Ht. 5, 11; wt. 154; 
black hair, brown eyes. 

Valli, Virginia, actress — -b. and educ. 
Chicago, 111.; stage exp., stock: 
screen exp., Universal, "The Storm": 
star, "The Lady of Quality," "K." 
Ht. 5. 3 ; dark brown hair, blue eyes. 

Varconi, Victor, actor — Paramount 
Studios. 

Vernon, Bobby, actor — b. Chicago 
Christie Comedies. 

Vidor, King, director — b. Galveston, 
Texas; educ. southern and eastern 
colleges; s:reen career, "The Turn in 



BIOGRAPHY 



531 



the Road," "The Other Half," "The 
Sky Pilot," "The Jack Knife Man," 
"The Real Adventure," "Dusk to 
Dawn," "Peg O' My Heart," "Wo- 
man of Bronze," "Three Wise Fools," 
"Happiness." 

Von Stroheim, Eric, director — b. 
Austria; educ. Milit. Acad., Aus- 
tria; early career, army officer, 
Newspaper man and magazine writ- 
er in U. S.; stage career, over Or- 
pheum circuit. 

Wagner, Rob, director and author- 
Now directing Will Rogers, Hal 
Roach Studios. For complete Biog- 
raphy, consult article, Rob Warner's 
Sketch. 

Walker, Johnnie, actor — Educ Ford- 
ham Univ., N. Y. C; stage career, 
stock, dramatic and musical; screen 
career, 13 yrs.; "Over the Hill/' 
"Fantomas," "Play Square," "Ex- 
tra, Extra," "My Dad," "In the 
Law," "Captain Fly-By-Night," 
"The Third Alarm," "The Fourth 
Musketeer," "Children of Dust," 
"Red Lights." Ht. 5, 11; wt. 160; 
black hair, brown eyes. 

Walsh, George, actor, athlete — b. New 
York City. "Honor System," "Van- 
ity Fair," etc. 

Walthall, Henry B., actor — b. Shelby 
County, Ala. ; stage career, played 
through East; screen career, from 
1910; "Birth of a Nation," "Unknown 
Purple," "Face on the Barroom 
Floor," "One Clear Call," "Mis- 
understood," "Boy of Mine." 

Warner, J. L., producer — Member of 
the Warner Bros. Organization. 

Webb, George, actor — b. Indianapolis; 
educ. Minneapolis and Los Angeles; 
"Black Beauty," "The Son of Wal- 
lingford," "The Man Under Cover," 
"The Phantom Fortune," "The Cru- 
sader," "Romance Land," "Little 
Johnny Jones." 

Webb, Harry, director — b. 1892, Scott- 
dale Pa.; to California, 1908; started 
in pictures as ass't dir. to Stuart 
Paton; for 5 yrs. with Universal. 

White, Gordon, actor, athlete — Stam- 
ford Ramsdells Productions. 

White, Tom, casting director, Famous 
Players-Lasky, West Coast Studio — 
b. Deals Island, Md. ; grad. high 
school and Oak Grove Academy in 
civil engineering; production mana- 
ger for Paramount 3 yrs. prod, 
manager of "Covered Wagon"; now 
casting director. 

Wilky, L. Guy, chief cameraman Wil- 
liam de Mille-Paramount produc- 
tions — b. Phoenix, Ariz., 1888; educ 
Phoenix public and high schools: 
graduate University of Arizona, 
school of mining and engineering; 



camera career, Lubin," American, 
Thos. Ince, Paralta, J. W. Kerrigan 
Co., Louise Glaum Prod., Bessie 
Barriscale Prod. 

Wood, Freeman N., actor — b. Denver, 
Colo.; educ. Columbia University; 
Screen experience 3 yrs., "White 
Hands," "When Carey Comes to 
Town," "High Heels," "Butterfly," 
"The Man Alone," "Made in Hea- 
ven." Ht. 6; wt. 185; blonde hair, 
blue eyes. 

Wilson, Harry D, — President Wampas 
Western Motion Picture Advertisers' 
Association. 

Wilson, Lois, actress — b. Pittsburgh, 
Pa. ; educ. Ala. Normal Coll. ; screen 
career, representative of Ala. in 
Universal beauty contest, screen ca- 
reer, "It Pays To Advertise," "Too 
Much Johnson," "Thou Art the 
Man," "City of Masks," "A Full 
House," "Midsummer Madness," 
"City of Silent Men," "The Hell 
Diggers," "Miss Lulu Bett," "The 
AVorld's Champion," "Is Matrimony 
a Failure?" "Our Leading Citizen," 
"Manslaughter," "The Covered Wa- 
gon," "Bella Donna," "Without Com- 
promise," "Broad Daylight," "Mon- 
sieur Beaucaire," "Icebound," "The 
Man Who Fights Alone." Ht.5, 5V 2 , 
wt. 120; brown hair, hazel eyes. 

Windsor, Claire, actress — b. Cawker 
City, Kans. ; educ. Washburn Col., 
Kans.; screen career, "What Do 
Men Want" "To Please One Wo- 
man," "What's Worth While," 
"Two Wise Wives," "Fools First," 
"Strangers Banquet," "The Eternal 
Flame," "Rich Men's Wives," "Lit- 
tle Church Around the Corner," 
"The Acquittal," "Nellie, the Beau- 
tiful Cloak Model." Ht. 5, 6%; wt. 
131; blonde hair; hazel eyes. 

Woods, Walter, writer — b. Erie, Pa.; 
educ. public schools; screen career, 
began writing scenarios for Univer- 
sal averaging 2^4 reels of completed 
film a week for seven months; at one 
time five directors were making his 
stories simultaneously; later became 
featured staff writer for Famous 
Players-Lasky; noted adaptations, 
"One Glorious Day," "Old Home- 
stead," "The Dictator," "Ruggles of 
Red Gap," "The Enemy Sex," "To 
the Ladies," "Merton of the Mov- 
ies." 

Wray, John Griffith, director — b. Min- 
neapolis, Minn.; educ. Wis. State 
Normal, Amer. Acad. Dramatic 
Arts; screen career, "Homespun 
Folks," "Beau Revel," "Lying Lips," 
"Hail the Woman," "Ten Ton Love," 
"Jim," "Human Wreckage," "Anna 
Cristie." 



^5 



Directory of Local Studios and Producers 

Courtesy Standard Casting Directory 



Actors Equity Assn., 6412 Hollywood 
Elvd. 

Anchor Prod., 1442 Beachwood Drive 
Anger, Lou, Prod., Buster Keaton 
Studio 

Assn. of M. P. Prod., 6912 Hollywood 
Blvd. 

Banks, Monte, Prod., Grand Studio 
Belasco Prod., 6912 Hollywood Blvd. 
Bennett, Chester, Prod., P. B. O. 
Studio 

Berwilla Studio, 5821 Santa Monica 
Blvd. 

Blackston Com. Prod., Vitagraph Studio 
Borzage, Prank, Prod., Metro-Gold- 

wyn-Mayer Studio 
Brown, H. J., Prod., 1439 Beachwood 

Drive 

Bruce, Robert, Prod., Brentwood Studio 
Butterfly Comedies, Cosmosart Studio 
Caldwell, Fred, Prod., Fine Arts 
Studio 

Carewe, Edwin, Prod., United Studio 
Carlos Prod., F. B. O. Studio 
Century Studio, 6100 Sunset Blvd. 
Chaplin Studio, 1416 La Brae Ave. 
Choice Studio, 6044 Sunset Blvd. 
Christie Studio, 6101 Sunset Blvd. 
Co-Artists Prod., F. B. O. Studio 
Coogan, Jackie, Prod., Metro Studio 
Cortland Prod., Ince Studio 
Cosmosart Studio, 3700 Beverly Blvd 
D'Allesandro Prod., 933 Seward St 
Dearholt Prod., Berwilla Studio 
Dillon, Edward, Prod., Goldwyn Studio 
Dunlap Prod. F. B. O. Studio 
Famous Artists Studios, 6046 Sunset 
Blvd. 

F. B. O. Studios, 780 Gower Street 
Fine Arts Studio, 4500 Sunset Blvd. 
Fitzmaurice, George, United Studio 
First National Prod., Inc., United 
Studios 

Fox Studio, 1401 N. Western Ave 
Franklin, Sidney, Prod., United Studios 
Garson Studio, 1845 Glendale Blvd. 
Golden West Prod., Hollywood Studios 
Goldstone Prod., 1426 Beachwood Dr. 
Gold Seal Prod., 7405 Rosemary Ave 
Goldwyn, Samuel, Prod., United' Studio 
Granada Prod., Russell Studio 
Grand Studio, 1438 Gower Street 
Graf Prod., Inc., Cal. Com. Union 

Bldg., San Francisco 
Henley, Hobart, Prod., Metro-Gold- 

wyn-Mayer Studio 
Herald Pictures Corp., 4634 Santa 

Monica Blvd. 
Hercules Prod., 1442 Beachwood Dr 
Hoi ywood Studios, 6642 Santa Monica 

Blvd. 

Horner, Bob, Prod., 1442 Beachwood 
Drive 

Horsley Studio, 6060 Sunset Blvd 
Hysterical History Comedies, Holly- 
wood Studios 
Ince, Thomas H. Studios Inc., Culver 
City 

Independent Pictures, Hollywood 
Studios 

Johnson, Emroy, Prod., F B O 
Studio 

K ^ n ,. Kid Komedies, Cosmosart 
Studios 

Keaton, Buster, Prod., 1025 Lillian Way 
King, Carlton, Prod., Cosmosart 
Studios 



Lasky Studio, 1520 Vine Street 
Laval Prod., Universal Studio 
Lloyd Frank, Prod., United Studio 
Lloyd, Harold, Corp., Hollywood 
Studio 

Logap-Baynham Prod., Russell Studio 
Lubitsch, Ernst, Prod., Warner Bros. 
Studio 

Lyons, Eddie, Prod., Berwilla Studio 
Maloford Prod., 1439 Beachwood Dr. 
MacLean, Douglas, Prod. F. B. O. 
Studio 

McDonald, J. K., Prod., Hollywood 
Studio 

McDonald, Sherwood, Prod., Cosmo- 
sart Studio 

McNamara Studio, 4011 Lankershim 
Blvd. 

Metro-Goldwyn-Mayer Studio 
Metro Studio, 900 Cahuenga Ave. 
Mission Films, 6411 Hollywood Blvd. 
Morante Comedies, Russell Studio 
Motion Picture Players' Association 
Neilan, Marshall, Prod., Metro-Gold- 
wyn-Mayer Studio 
Niblo, Fred, Metro-Goldwyn-Mayer 
Studio 

Patton, C. W., Prod., 6046 Sunset Blvd. 
Pickford-Fairbanks Studio, 7100 Santa 

Monica Blvd. 
Porter, Gene Stratton, Prod., Ince 

Studio 

Principal Pictures, 7250 Santa Monica 
Blvd. 

Rapf, Harry, Prod., Metro-Goldwyn- 
Mayer Studio 
Regal Pictures, Inc. Ince Studio 
Renalles, Inc., Cosmosart Studio 
Robertson-Cole Prod., Hollywood 
Studio 

Rockett-Lincoln Co., 305 Hollywood 

Security Bldg. 
Rock, Sam E., Prod., United Studio 
Roach Studio, Culver City 
Russell Studio, 1439 Beachwood Dr. 
Sacramento Prod., F. B. O. Studio 
Schenck, Joseph M., Prod., United 

Studio 

Seeling, Chas. R., Prod., F. B. O. Studio 
Semon, Larry, Prod., Hollvwood Studio 
Sennett Studio, 1712 Glendale Blvd. 
Sanford Prod., F. B. O. Studio 
Schulberg, B. P., Prod., F. B. O. 
Sultan Comedy Corp., Fine Arts Studio 
Smith, David, Prod., Vitagraph Studio 
Sunset Prod., 7425 Sunset Blvd. 
Technicolor M. P., Corp., 6701 Santa 

Monica Blvd. 
Thomas, Richard, Prod., F. B. O. 

Studio 

Tiffany Prod., Metro-Goldwyn-Mayer 
Studio 

Tully, Richard Walton, Prod., United 
Studio 

Truart Prod., Metro-Goldwyn-Mayer 
Studio 

United Prod., & Dis., 1608 Highland 

United Studio, 5341 Melrose Ave. 

Universal Studio, Universal City 

Vitagraph Studio, 1708 Talmadge St. 

Von Stroheim, Eric, Prod., Metro- 
Goldwyn-Mayer Studio 

Waldorf Studio, 6070 Sunset Blvd. 

Warner Bros., .Studio, 5842 Sunset 
Blvd. 

Webb, x Harry, Universal City 
Wilson, Ben, Prod., Berwilla Studio 



532 



Ms 



Ms 



Illustrations 



PAGE 



A cord, Art 322 

Adams, Claire - - - - 88 

Adams, Jimmie - - - - 410 

Adoree, Renee ----- 78 

Ainslee, Marian - - - - 380 

Alexander, Ben - 240 

Allison, May ----- 80 

Anderson, Robert - - - - 352 

Animals in Pictures, 254, 262, 3 66, 368 

Archinbaud, George 42 

Athletes, Famous - - - - 268 

Atkinson, Frank - 339 

Austin, Albert - - - - 30 

Ayres, Agnes - 136, 350 

Baker, Snowy ----- 268 

Baggot, King ----- 28 

Barker, Reginald 40 

Barnes, T. Roy - - - - 426 

Barry, Wesley - - - 236,440 

Barrymore , John 50 

Baxter, Warner - - - - 348 

Bellamy, Madge - - - - 472 

Beranger, Clara - 380 

fl*r«, ZW ------ 498 

Beery, Noah, Home of - 400 

-B^ry, iVoa// . 422 

B**ry, Wallace - 200 

Bernheim, Julius - 360 

Bennett, Enid ----- 300 

Beaudine. William - - - - 38 

Beaumont, Harry 38 

Birds eye View Hollywood - - 14 

fi/u*, Mow** - - - - - 82 

Bonomo, Joe ----- 440 

Bow, C/ara - - - - - 162 

Bowers, John - - ■ - - - 106 

Bosworth, Hobart - - - - 188 

Brabin, Chas. 42 

Bracy, Sidney ----- 442 

Breamer, Sylvia - 394 

Brenon, Herbert 42 

Brodin, Norbert - - - - 332 

Brown, Clarence - - - - 376 

Buchowetzki, Dimitri 40 

Buckland, Wilfred - - - - 360 

Burns, Neal ----- 410 

Business District, Hollywood - 14 

Bw/^r, Frtf/z* ----- 348 

Calhoun, Alice - - - - - 316 

Cameramen, Famous - 332 

Carewe, Edw. ----- 20 

Carew, Ora ----- 142 

Carpenter, Grant - - - - 380 

CW, Alexander - - - - 482 



PAGE 



CW, Mary - - - - - 394 

Carter, Miss - - - - - 236 

Casting Directors : 

Fred Datig - - - - 284 

Robert B. Mclntyre - - 282 

Emile De Ruelle - - - 284 

Tom White - - - - 286 

Cautiero, Robert - 360 

Chadwick, Helene 64 

Chaffin, Ethel - - - - - 388 

Chaney, Lon - - - - 198 

Chaplin, Charles 52 

Chaplin Studio ----- 18 

Chaplin, Syd, Poses of - - - 192 

" Horn,? of - - - 400 
Children, Clever— 

236, 240, 242, 244, 24-6, 248 

Chris-tie, A I - - - - - 20 

Clifford, Ruth - - - - - 154 

CWj, 2><u> ------ 76 

Collier, William, Jr. - - - 476 

Comedians of the Screen - - 410 

Compson, Betty ----- 132 

Connelly, Edward - 442 

Coogan Family - 406 

Coogan, Jackie ----- 242 

Coogan, Jack Sr. and Mrs. - - 406 

Coo^, Ctyd<? ----- 410 

Cooper, Rosemary - - - - 388 

Cortez, Ricardo - - - - 160 

Cowan, Sada - - - - - 380 

Cowboys, Famous — 

252, 254, 256, 258, 262, 264, 366 

Crizer, T. J. - - - - - 348 

Cutting Room - - - - - 339 

Dana, Viola - - 56 

" " Home of - 400 

Daniels, Bebe - - - - - 118 

Daniels, Mickey - - - - 240 

Darmond, Grace - 214 

Datig, Fred ----- 284 

Daugherty, Jack - 440 

Davies, Marion - 146 

Daw, Marjorie - - - - 116 

De Grasse, Sam - - - - 422 

De Mille, Cecil B. - - - 24 

De Mille, William 40 

De Roche, Charles - - - 138 

De Ruelle, Emile - - - - 284 

Dean, Dinky ----- 434 

Dempsey, Jack - - - - 268 

Denny, Reginald - 268 

Desmond, Bill - - - 264, 366 

Devore, Dorothy - 352 

Dippy-Doo-Dads - - - - 262 



533 



534 



ILLUSTRATIONS 



PAGE 



Dix, Richard - - - - - 270 

Directing the Picture - 354 

Dodd, Neal - - - - - 102 

Duncan, Bill ----- 262 

Duncan, Leland L. 44-2 

Dunbar, David - - - - 306 

Dunn, Winifred - - - 338, 498 

Easter Morn, Hollywood Bozvl - ..14 

Edlin, Ted - -. - - - 440 

Edwards, Snitz - - - - 442 

F. B. 0. Studio 18 

Fairbanks , Douglas 48 

Fairfax, Marion - - - - 34 

Farley, James ----- 420 

Famous Comedians - 410 

Farina ------ 236, 248 

Farnum, William - 172 

Fawcett, George - - - - 191 

Fazenda, Louise - 414 

Fellowes, Rockcliffe - - - 452 

Ferguson, Helen - 168 

Film Cutters - - - - - 339 

Finlayson, James - - - 410 

Fitzmaurice , George 28 

Fleming, Victor - - - 352 

Foote, Courtenay - 394 

Forman, Tom ----- 28 

Francisco, Betty - - - - 148 

Francis, Alec B. - - - - 482 

Franklin, Sidney 24 

Farnum, Dorothy - - - 388 

Frederick, Pauline - - - - 190 

#0ra<- o/ - - 398 

Freulich, Jack - - : - - 376 

Gade, Sven ----- 376 

Gaudio, Tony ----- 332 

Geraghty, Carmelita - 374 

Gerson, Paul ----- 506 

Gestures, Posed by Lloyd Hughes 196 

Gibson, Hoot ----- 252 

Gilbert, John ----- 490 

Glyn, Elinor ----- 46 

Goldwyn-Mayer Studio - - 18 

Gordon, Huntley - - - - 134 

Goodwin, Harold - 394 

Gowland, Gibson - 422 

Gravina, Ceasare - 352 

Gribbon, Eddie - - - - 322 

Griffith, Corrinne - 474 

Guerin, Bruce - - - 236 

Hanson, Juanita - 128 

Harlan, Kenneth - - - 492 

Harris, Fred ----- 348 

tfar*, ^m. 5. - - - - - 258 

Hasbrouck, Olive - - - 420 

Hawley, Wanda - - - - 220 

Herscholt, Jean - - - - - 302 

Hi g gin, Howard - - - 380 



PAGE 

Hines, Johnny - 410 

Holland, Cecil ----- 294 

//o/^ Jrtc^ - 108, 350 

" Family of 406 
Hollywood, Scenes in — 

Birdseye View - 14 

Business District 14 

Hollywood Homes 14 

Hollywood Boulevard - - 14 

Hollywood Bowl 14 

Mountain View - 8 

Mountain View No. 2 - - 8 

Residence District - - - 8 

Scene from Pilgrimage Play 8 

Hollywood Studio - .- - - 16 

Homes, Hollywood 14 
Homes of Movie Stars - 398, 400, 402 

Hoxie, Jack ----- 254 

Hughes, Diana - - - - 312 

Hughes, Laurence A. - - - 10 

Hughes, Lloyd - ■ - - 174 

" Gestures, Posed by 196 

Hughes, Rupert - - - 28, 380 

" flom* o/ - - 398 

77/o.y. S/Wio - 16, 18, 339 

"• " P/zo/o - - - 20 

" " iforn^ o/ - 398 

Ingram, Rex ----- 24 

/rz'£*, /W ----- 40 

Israel, Walter 476 

Johnson, Adrian - - - - 388 

Johnson, Emory 20 

Johnson, Edith - 262 

Johnston, Julianne 68 

Jones, Chas. Buck - 254 

Joj;, Leatrice - - - - - 182 

Jw/zV?«, Rupert - - 24, 339, 354 

Keaton, Mrs. Buster and Baby 406 

Kellerman, Annette - 266 

Kenyan, Al ----- 498 

Kenyon, Charles - -. - - 498 

Kerry, Norman - 206 

Kerrigan, Warren, Home of - 398 

Kirkwood, James - 202 

Kornman, Mary - - 236, 240, 248 

Kosloff, Theodore - - 226, 350 

Laboratory, Paramount - '- 326 

Laemmle, Carl - - - - 20 

Laemmle, Edw. - 24, 322 

Lrt iVfarr, Barbara - - - 184 

Landy, George - 422 

Lanoy, Andre ----- 360 

La Plante, Laura - 468 

LaRoque, Rod ----- 370 

Lrt Pw^, Fontaine - 482 

Lasky, Jesse L. - - - - 22 

Lawrence, Florence - - - 388 



ILLUSTRATIONS. 



535 



PAGE 

Lawrence, Frank - - - -376 

Lease, Rex - - - - - 482 

Lee, Florence ----- 506 

Lee, Duke - - - 322 

Lee, Lila - - - - - - 104 

Leonard, Robert - - 30 

Lester, Kate - - - - - - 482 

Lesser, Sol - - 22, 336 

Littlefield, Lucien - 304 

Livingston, Margaret - - - 420 

Lloyd, Harold ----- 408 

" " Home of - - - 400 

Lloyd, Frank - - - - - 28, 354 

Location Scenes - - - - 318 

Logan, Jacqueline - - - 228, 350 

Louis, Willard - - - - 4+0 

Lubitsch, Ernst - - - - - 38 

Lyon, Ben - - - - - - 352 

MacDonald, Wallace - - - 208 

MacDermott, Marc - 442 

MacLean, Douglas - 276 

MacP/ierson, Jeannie - - - 382 

Madison, Cleo - - - - - 352 
Make-Up Illustrated — 

Alice Calhoun - - - - 316 

Cecil Holland - - - - 294 

David Dunbar - - - 306 

Jean Herscholt - - - 302 

Lucien Littlefield - - - 304 

McDonald, J. K. - - - - 20 

McDowell, Nelson - 420 

Mclntyre, Robert B. 282 

McGowan, Bob - - - - 236 

McGuire, Kathryn - - - 230 

McGuire, Tom H. - - - - 22 

Marcelli, Ulderico - - - - 466 

Marmont, Percy - - - - 486 

Marshall, Tully - - - - 482 

Martin, A I - - - - - 482 

Mathis, June ----- 498 

Mayne, Eric - - - - - 422 

Meighan, Thomas - - - 350 456 

Melford, George - - - - 30 

Menjou, Adolphe - 502 

Meredith, Charles - - 420, 442 

Meyers, Carmel - - - 186 

Microscopic Motion Pictures - 336 

Mil ford, Mary Beth - - - 420 

Miller, Carl - - - - - 278 

Miller, Marilyn - - - - 58 

Miller, Patsy Ruth - - - - 234 

Miller, Virgil - - - - - 332 

Mix Tom - 254, 256 

" " and Family - - - 406 

Montana, Louis Bull - - - 437 

Moreno, Antonio - 166 

Moore, Colleen - 144 

Moore, Micky - - - - - 240 

Moore, Pat 236 

Morrison, James - 348 

Morris, Margaret - 494 



PAGE 

Motion Picture Producers - 20, 22, 26 



Motion Picture Studios — 

Pickford-Fairbanks - - - 18 

Paramount 18, 326 

F. B. O. - - - - - 18 

Universal - - - 16, 18, 324 

Chaplin - - - - - 18 

Hal Roach - - - - 18 

Goldivyn-Mayer - - - 18 

Schulberg - - - - - 16 

Metro ------ 16 

United - - - - - \s 

H ollyivood ----- 16 

Murray, Mae ----- 222 

" Home of - - -' - 400 

Murray, Charlie - - - - 433 

Movie Stars Homes - 398, 400, 402 

Murfin, Jane ----- 460 

Nagel, Conrad - 342 

" Home of - - 398 

and Daughter - 406 

Navarro, Ramon - 224 

Nazimova's Home - - - - 393 

Negri, Pola - - - - 98, 350 

Niblo, Fred ----- 30 

Nilsson, Anna Q. - - - - 66 

Novak, Jane ----- 212 

Novak, Eva ----- 212 

O'Connor, Mary - 394 

O'Donnell, Spec - - - - 240 

O'Hara, George - 268 

Olmsted, Gertrude - - - - 156 

O'M alley, Pat - - - - - 360 

Our Gang - - - 236, 240, 248 

Paramount Studio - - - 18, 326 

Parker, Mat ----- 476 

Parrott, Chas. Chase - - - 410 

Paton, Stuart ----- 40 

Peggy, Baby ----- 246 

Perrin, Jack - - - - - 376 

Pets of Movieland - - - - 368 

Peters, House ----- 90 

Phil bin, Mary - - .- - - 446 

Phillips, Dorothy - - - - 404 

Pilgrimage Play - 8 

Pickford-Fairbanks Studio - - 18 

Pickford, Mary 48 

Pickford, Jack ----- 58 

Pitts, Zasu - - - - - - 210 

Pringle, Aileen, Home of - - 400 

Printzlau, Olga - - - - 388 

Pollard, Harry ----- 42 

Pollard, Snub - - - - - 410 

" Home of - - 400 

Pretty, Arline ----- 480 

Prevost, Marie - - - - 216 

Ralston, Esther - - - - 310 

Ralston, Jobyna 72 



536 


ILLUSTRATIONS 








PAGE 






PAGE 


Ramsdell, L. S. - - - • 


22 


bwickara, Lnarles 


- 


- 348 


Rawlinson, Herbert 


130, 322 


bwickard, Joseph 


- 


- 464 


Ray, Charles - 


54 








Reeve, Arch - 


-. 505 


lalmade, Constance 


- 


- 84 


Reeves, Bob - 


- 254 


" Home 


of 


- 398 


Residence District, Hollywoo 


d - 8 


Talmadge , Norma 


- 


60 


Reynolds, Vera - 


- 506 


Taylor, Estelle - 




94 


Rich, Lillian - 


- 150 


Tourneur, Maurice 


- 


- 24 


Rich, Irene and Daughters 


- 344 


Torrence, Ernest 


96, 


97, 350 


Riesner, Chuck - 


434 


learle, Lonway 


- 


- 114 


Rin-Tin-Tin - 


362 


Terry, Alice - - - 




- 314 


Roach, Hal, Studio - - 


18 


Thompson, Fred 


- 


- 268 


Roach, Bert - - 


'tlv 


T olhurst, Louis - - 


- 


- 336 


Roach, Hal E. - - - 


22 








Roberts, Theodore 


309 


/ idor, King - 




- 40 


Roche, John - 


440 


it (( TT 1 

Home of 


- 


- 398 


Rogell, Albert 


38 


Valli, Virginia - 




- 110 


" " Home of 


- - 398 


Valentino, Rudolph - 


- 


- 274 


Rogers, Will - 


- 410 




■ 


- 394 


Roland, Ruth 


- 124 


Vernon, Bobby 




- 410 


(( <( TT t 

Home of 


- 398 


Von Stroheim, Eric - 


■ 


- 353 


Ti 7 /II 

Rubens, Alma - 


292 


Walsh, George 


- 


- 268 


Schertzinger, Victor 


30 


Wagner, Rob - 




- 422 


Schulberg Studio 


1 £ 
I 


W alt nail, Henry B. 
Warner Bros.' Studio 


- 


- 20 + 


Seastrom, Victor 


30 


- 


18 


Seastrom, Victor and Wife 


i DO 


Sam W arner 


- 


- 26 


Shall ert, Edwin 


352 


/ill. j rrr _ 

A Ibert W arner - 


- 


- 26 


Shaw, Peggy - 


_ 232 


Harry M, Warner 


- 


- 26 


Shearer, Norma 


70 


Jack L. Warner 


- 


- 26 


Sedgwick, Ed - 


c 




W ashburn, Bryant - 


- 


- 308 


Sedgwick, Eileen 




" and Fa 


mily 


- 406 


Sedgwick, Josie 


264 


Webb, George - - 


- 


- 360 


Stahl, John M. - - - 


- - 22 


W ebb, Harry - 




- 376 


Standing, Wyndham 


- 164 


w hue , Lroraon - 




- 268 


Stanley, Forest - - - 
" " Home of - 


- - 86 


W hite Jack 


- 


- 476 


- - 398 - 


White, Johnnie 


- 


•- 476 


Stars' Homes - - - 398, 400, 402 


White, Tom - 




- 286 


Stevenson, Hadyn 


- - 476 


Wilson, Lois 


- 


92 


Stewart, Anita 


- - 74 


Willat, Irvin - 




- 506 


Stewart, Roy 


- - 254 


TT/ '//" „ TS~ „ . 7 

W illiams , Kathryn 


- 


- 350 


Stone Lewis - 


- 120 


Wilky, Guy - 




- 332 


Stonehouse , Ruth 


- - 506 


IT/ jw/7 f/i r ( 1 n 1 t p — — 




- 218 


Sullivan, Billy - 


- - 268 


" " and Son 


- 


- 406 


Sullivan, Jack, - 


- - 506 


Woods, Sam, Home of - 




- 400 


Swanson, Gloria 


- 448 


Woods, Walter 




- 498 


Sweet, Blanche 


- 152 


Worsley, Wallace 




- 42 



Contt ibutors 



PAGE 



Ainslee, Marian, Article by - - 351 

Agnes, Ayres, Article by - - - 137 

Anderson, Robert, Article by - 473 

Anthony, Walter, Article by - 345 

Astor, Mary, Article by - - - 143 

Atkinson, Frank, Article by - - 343 

Austin, Albert, Article by - - 237 

Baker, Snowy, Article by - - 280 

Bag got, King, Article by - - - 183 

Barker, Reginald, Article by - 359 

Barnes, T. Roy, Article by - - 427 

Baxter, Warner, Article by - 298 

Beetson, Fred, Article by - - 475 

Belmore, Lionel, Article by - - 135 

Beaudine, Flarold, Article by - 24 

Beaudine, William, Article by - 251 

Beery, Noah N., Article by - - 197 

Beery, Wallace, Article by - - 201 

Bennett, Enid, Article by - - - 299 

Beranger, Clara, Article by - - 392 

Bern, Paul, Article by - - - - 389 

Bernheim, Julius, Article by - - 159 

Beaumont, Harry, Article by - 187 

Blue, Monte, Article by - - - 83 

Bosworth, Hobart, Article by - 189 

Bow, Clara, Article by - - - 163 

Brenon, Herbert, Article by - - 3 59 

Brierley, Thos., Article by - - 321 

Brandeis, Madeline, Article by - 377 

Br earner, Sylvia, Article by - - 129 

Brown, Clarence, Article by - 412 

Buchowetzki, Dimitri, Article by 211 

Buckland, Wilfred, Article by - 359 

Busch, Mae, Article by - - - 101 

Butler, Frank, Article by - - - 79 

Carpenter, Grant, Article by - 381 

Carew, Or a, Article by - - - 143 

Carr, Alexander, Article by - 416 

Carr, Mary, Article by - - 171 

Cautiero, Robert, Article by - 291 

Chaplin, Charles, Article by - 53 

Chaplin, Syd, Article by - - - 193 

Chadwick, Helene, Article by - 65 

Chaffin, Ethel, Article by - - 372 

Chaney, Lon, Article by - - - 199 

Christie, Al, Article by - - - 109 

Clifford, Ruth, Article by - - 155 

Compson, Betty, Article by - - 133 

Cowan, Sada, Article by - - - 396 

Connelly, Edward, Article by - 185 

Cnogan. Jack Sr.. Article by - 243 

Cook, Clyde, Article by - - - 195 

Cortez, Kicardo, Article by - - 161 



PAGE 



Crizer, T. J., Article by - - - 340 

Cruze, James, Article by - - - 107 

Currier, Frank, Article by - - 121 

Daniels, Be be, Article by - - - 119 

Darmond, Grace, Article by - 215 

Datig, Fred, Article by - - - 285 

Dean, Priscilla, Article by - - 213 

Davies, Marion, Article by - - 147 

Dempsey, Jack, Article by - - 272 

De Mille, Cecil B., Article by - 77 

Denny, Reginald, Article by - 273 

De Grass e, Sam, Article by - 149 

De Roche, Charles, Article by - 203 

Desmond, William, Article by - 265 

Devore, Dorothy, Article by - 421 

Dix, Beulah Marie, Article by 397 

Dix, Richard, Article by - - - 271 

Dodd, Neal, Article by - - - 107 

Dunbar, David, Article by - - 307 

Duncan, Lee, Article by - - - 369 

Duncan, William, Article by - 263 

Edeson, Arthur, Article by. - - 333 

Edlin, Ted, Article by - - - - 487 

Edwards, Snitz, Article by - - 197 

Fairbanks , Douglas, Article by 51 

Fairfax, Marion, Article by - - 35 

Farnum, Dorothy, Article by - 393 

Farnum, William, Article by - 173 

Fawcett, George, Article by - - 191 

Fazenda, Louise, Article by - - 415 

Ferguson, Helen, Article by - - 170 

Fellowes, Rockcliffe, Article by 451 

Finlayson, James H., Article by 417 

Fitzmaurice, George, Article by 19 

Fleming, Victor, Article by - - 131 

Forbes , De Courcey, Article by - 31 

Francisco, Betty , Article by - - 149 

Freulich, Jack, Article by - - 329 

Gade, Sven, Article by - - - 405 

Geraghty, Carmelita, Article by 113 

Gerson, Paul, Article by - - - 465 

Gilbert, John, Article by - - 167 

Gibson, Hoot, Article by - - 353 

Goodwin, Harold, Article by - 195 

Gordon, Huntley, Article by - 135 

Graham, Garrett, Article by - 364 

Griffith, Corrinne, Article by - 219 

Hansen, Juanita, Aricle by - - 129 

Harlan, Kenneth, Article by - 215 

Harris, Fred W., Article by - - 319 



537 



538 



CONTRIBUTORS 



PAGE 



Hart, William S., Article by - 259 

Hasbrouck, Olive, Article by - 119 

Hawley, Wanda, Article by - 221 

Hesser, Edwin Bower, Article by 311 

Higgin, Howard, Article by - - 395 

Holt, Jack, Article by - - - - 109 

Holland, Harold, Article by - - 209 

Holland, Cecil, Article by - - 295 

Hoxie, Jack, Article by - - - 260 

Hughes, Diana, Article by - - 479 

Hughes, Rupert, Article by - - 373 

Hughes, Laurence A., Preface by 11 

Ince, Thos. H., Article by - - 123 

Johnson, Adrian, Articles by 43, 139 

Johnson, Edith, Article by - - 263 

Jones, Chas. Buck, Article by - 216 

Joy, Leatrice, Article by - - - 183 

Kahn, Ivan, Article by - - - 250 

Keaton, Buster, Article by - - 438 

Kellerman, Annette, Article by 267 

Kenyon, Albert, Article by - - 390 

Kenyan, Charles, Article by - 286 

Kerry, Norman, Article by - - 207 

Key, Gathleen, Article by - - 141 

Kosloff, Theodore, Article by - 227 

Laemmle, Carl ------ 21 

Laemmle, Edward, Article by, 165, 323 

Lease, Rex, A ride by - - - - 493 

Landy, George, Aricle by - - 484 

La Plante, Laura, Article by - 113 

La Rogue, Rod, Article by - - 371 

Lasky, Jesse L., Aricle by - - - 29 

Lawrence, Florence, Aricle by - 483 

Lawrence, Frank, Article by - 399 

Leonard, Robert, Article by - - 75 

Lessor, Sol - -- -- -- - 23 

Lester, Kate, Article by - - - 117 

Livingston, Margaret, Article by 101 

Littleiield, L ucien, Article by - 305 

Lloyd, Frank, Article by - - 356 

Lloyd, Harold, Aricle by - - 411 

Logan, Jacqueline, Article by - 229 

Long, Walter, Article by - - 250 

Louis, Willard, Article by - - 203 

Lubitsch, Ernst, Article by - - 347 

Lyon, Ben, Article by - - - - 180 

MacDermott, Marc, Article by - 443 

MacLean, Douglas, Article by - 277 

MacPherson, Jeannie, Article by 383 

McDowell, Nelson, Article by - 470 

McGuire, Kathryn, Article by - 231 

McGuire, Tom, Article by - - 430 

Mclntyre, Robert B., Article by - 283 

Marcelli, Ulderico, Article by - 467 

Marshall, Tully, Article by - - 191 

Martin, A I, Article by - - - 445 

Mat his, June, Article by - - - 378 

Mayne, Eric, Article by - - - 462 



PAGE 



Meighan, Thomas, Article by - 458 

Menjou, Adolphe, Article by - 503 

Meredith, Charles, Article by - 179 

Meredyth, Bess, Article by - - 387 

Mil ford, Mary Beth, Article by 335 

Miller, Virgil, Article by - - - 330 

Mix, Tom, Article by - - - - 257 

Montgomery, Marion Baxter, 

Article by ------ 247 

Moore, Colleen, Article by - - 145 

Moreno, Antonio, Article by - 167 

Morris, Margaret, Article by - 495 

Murray, Charlie, Article by - - 433 

Murray, Mae, Article by - - - 223 

Murfin, Jane, Article by - - - 459 

Negri, Pola, Article by - - - 99 

Niblo, Fred, Article by - - - 331 

Nilsson, Anna Q., Article by - 67 

Novak, Eva, Article by - - - 213 

Novak, Jane, Article by - - - 2i3 

O'Hara, George, Article by - - 280 

Olmsiead, Gertrude, Article by - 157 

O'M alley, Pat, Article by - - - 181 

Parrott, Chas. Chase, Article by 418 

Pat on, Stuart, Article by - - - 91 

Phillips, Dorothy, Article by - 409 

Philbin, Mary, Article by - - - 447 

Perrin, Jack, Article by - - - 261 

Pickford, Jack, Article by - - 59 

Pickford, Mary, Article by - - 49 

Pirie, A., Article by - - - - 504 

Pitts, Zasu, Article by - - - - 211 

Pollard, Harry A., Article by - 272 

Pringle, Aileen, Article by - - 141 

Pretty, Arline, Article by - - - 151 

Prevost, Marie, Article by - - 217 

Ray, Charles, Article by - - - 55 

Ramsdell, L. S„ Article by - - 497 

Rawlinson, Herbert, Article by - 131 

Reeve, Arch, Article by - - - 500 

Reeves, Bob, Article by - - - 255 

Reynolds, Bennie F., Article by - 330 

Rich, Lillian, Article by - - - 151 

Riesner, Chuck, Article by - - 435 

Roberts, Theodore, Article by - 309 

Roche, John, Article by - - - 450 

Rogell, Albert, Article by - - 361 

Roland, Ruth, Article by - - - 125 

Ryan, James, Article by - - - 288 

Sedgwick, Eileen, Article by - 265 

Sedgwick, Josie, Article by * • 265 

Shallert, Edwin, Article by - - 477 

Shaw, Peggy ------- 233 

Short, Gertrude, Article by - - 133 

Sketch by Rob Wagner - - - 423 

Sidney, Scott, Article by - - - 413 

Sills, Milton, Article by - - - 457 

Standing, Wyndham, Article by 165 

Sterling, Ford, Article by - - 159 



CONTRIBUTORS 



539 



PAGE 

Wagner, Rob, Sketch by - - - 423 

Warner Jack L. ----- - 27 

Walker, Johnnie, Article by - - 281 

Walsh, George, Article by - - 269 

Walthall, Henry B., Article by - 205 

Webb, George, Article by ~ - 201 

White, Tom, Article by - - - 287 

Wilson Al, Article by - - - - 273 

Wilson, Harry D., Article by - 488 

Wilson, Lois, Article by - - - 93 

Willat, Irwin, Article by ■ - - 507 

Wilky, Guy, Article by - - - 325 

Windsor, Claire, Article by - - 219 

Wood Freeman .N. Article by - 126 

Woods, Walter, Article by - - 391 

Wray, John Griffith, Article by 358 



Wardrobes That May Be Rented 

Price List 

Full Dress Suits, $1.50 per day to $12.50 a week. 
Tuxedo Dress Suits, $2.00 per day to $12.50 a week. 
Cutaway Suits, $1.50 per day to $7.50 a week. 
Prince Albert Suits, $1.50 per day, $7.00 a week. 

Silk Pongee and Palm Beach Suits, $1.50 per day to $10.00 a week. 
English Riding Habits, $2.00 per day, $10.00 a week. 

Waiter, buss-boy, bellhop, cop, porter, brakeman, small-town, game keep- 
er, motorman, mountaineer, butler, chef, sailor, Mexican hunter, 
'ship's officer, mate, minister, underworld, race track tout, mas- 
querade, Chinese, hiking, surveyor, miner, bartender, Alaskan, fisher- 
man, Apache, groom, (all the above), $1.00 per day, $6.00 a week. 

Golf, sports and chauffeurs' uniforms, SI. 50 per day, $7.00 a week. 

White flannel trousers, $1.00 per day, $5.00 a week. 

Chaps, 50c per day. 

Bathing suits and silk hats, 50c per day. 
Pull dress and tuxedo shirts, 40c per day. 
White sports shoes and western, 35c per day. 
Mackinaws and corduroy pants, 35c per day. 
Evening or tuxedo shoes or pumps, 35c per day. 
Western hats, derbys, 25c per day. 



WHERE TO RENT COSTUMES 

S. Brill, Full dress suits, Tuxedos, etc., 319 S. Spring Street. 
Jane Lewis, Ladies' evening clothes, 6055 Hollywood Boulevard. 
Randall, Bruce, Costume Co., Full dress suits, men's complete wardrobe, 

1323% N. Bronson, Hollywood. 
Schlank's Studio Costumer, Men's and women's evening clothes, 

1570 Sunset Boulevard. 



PAGE 



Stewart, Roy, Article by - - - 259 

Sullivan, Jack, Article by - - 363 

Szvanson, Gloria, Article by - 449 

Sweet, Blanche, Article by - - 153 

Swickard, Josef, Article by - - 463 

Talmadge, Constance , Article by 85 

Talmadge, Norma, Article by - 61 

Taylor, Estelle, Article by - - 95 

Tearle, Conivay, Article by - - 115 

Tolhurst Louis, Article by - - 3 37 

Torrence, Ernest, Article by - - 97 

Tourneur, Maurice, Article by - 37 

Valentino, Rudolph, Article by - 275 

Valli, Virginia, Article by - - 111 

Varconi, Victor, Article by - - 127 

Vidor, King, Article by - - - 207 

Von Stroheim, Eric, Article by 353 



¥9 



¥5 



C 71 

PAGE 



Acting, Character, by Syd Chap- 
lin - - - - - - - - - 193 

An Actor's Impressions During a 

Vaudeville Tour - - - - 443 

Advice - - " - - 137 

Advice to Amateur Scenarists - 390 
A Day in the Life of a Casting 

Director ------- 287 

Advantage of "Stock" Training - 183 
Advice to Young Screen As- 
pirants ------ - 49 

Advice to Girls Seeking a Mo- 
tion Picture Career - - - 67 
A formula for Screen Success - 131 
A Hard Game ------ 161 

A Letter from One Irishman to 

Another - - - - - - - 433 

An. Essential of Writing - - - 397 

Animals in Pictures - - 364, 369 

Appreciation - -- -- -- 6 

Are Visitors Welcome to Studios 475 
Are You a Moving Picture As- 
pirant ----- -- - 69 

Are You Qualified ----- 143 

Are You Seeking a Living on the 

Screen -------- 141 

Art Director ------- 320 

Art of Story Telling - - - - 381 

Art of Story Telling Plea for 

Progress ------- 385 

Art in its Various Relations - - 195 
Aspirants Should Have Some 

Stage Experience - - - - 185 

Axeman as Well as Judge - - 399 

Bar rat, Harry - - - - - 15, 71 

Be Sure to Specialize - - - - 101 

Beauty Is Not Vitally Essential 

217, 219, 221 

Beauty, What Is it - - - - - 215 

Beginning a Scenario - - - - 387 

Better Pictures ------ 463 

Beauty and the East - - - - 44-5 

Beauty Contests ------ 303 

Booking Offices ------ 289 

Breaking Into the Movies - - 91 

Breaking Into Pictures - 430 

Building the Dramatic Scenario 383 

Can Married People Work in 

Picures - . - - - - - - 407 

Censorship ------- 44 

Character Acting ----- 193 

Chamber of Commerce Advice to 

Aspirants ------ 69 

Characterization - - - - 199, 416 



tents 

PAGE 



Character Analysis for the Screen 167 
Character Analysis for Screen 

Success ------- 470 

Character Man ------ 197 

Character Work ----- 197 

Chaps, Sombreros and Spurs — 

What Do They Mean - - 265 

Charm Plus Ability - - - - 143 

Construction of Setting - - - 321 

Coogan, Jackie - 237, 238, 243, 245 

Casting Directors - 283, 285, 287, 288 

Cameraman ------- 325 

Chances for a Beginner in the 

Camera End of Pictures - 330 
Cinematography — 

325, 327, 330, 331, 333 

Comedienne, The ----- 415 

Comedy Development - - - - 411 

Comedy Characterization - - 416 

Comedy Production - - - - 418 

Comedy Work Most Exacting - 421 
Coming to Hollywood Prepared 65 
College Girls and Boys in Pic- 
tures -------- 497 

Critic, The ------ 477, 481 

Dance and Be Graceful - - - 229 

Dancing - - 223, 227, 229, 231, 233 

Dedication - -- -- -- - 5 

Develop Your Opportunity - - 126 

Directing Animals in Pictures 369 

Director, Assistant - - - - - 363 

Directing Children - - - - - 251 

Director, Day in the Life of a 323 

Director, Duties of a - - - - 361 

Directory of Local Studios and 

Producers ------ 532 

Do You Applaud the Movies - 449 
Do You Knovo What Serials Are 263 
Do You Make a Habit of Smil- 
ing- -------- 281 

Does One Have to be Handsome 215 
Does Perseverance and Deter- 
mination Win - - - - - 165 

Does Stage Training Help the 

Film Actor ------ 179 

Does the Ability to Dance Con- 
tribute to Success in Motion 

Pictures ------- 223 

Does the World of Make Be- 
lieve Pay ------ 159 

Does the Written Application Pay 280 

Dramatic Schools ----- 465 

Duties of a Casting Director - 288 
Does Success Come Quickly in 

Pictures ------- 447 



CONTENTS 



541 



PAGE 

Elements of a Screen Story - - 378 
Employment in Pictures — 

61, 69, 290, 330, 487, 491 

Enthusiasm - - 51 

Environment and Home Life of 

Picture People ----- 401 

Essentials for Screen Success - 129 

Essentials of Still Photography 329 

Film Editor 340, 399 

Film Cutter ------- 343 

Flappers and the Movies - - - 145 

Foreword -------- 9 

Future of Motion Pictures - - 29 

Good Publicity, Like Art, Con- 
ceals Itself - 500 

Has Art a Fatherland - - - - 203 

Have Extras the Chances for Ad- 
vancement Offered Ten Years 

Ago -------- 83 

Health Plus Enthusiasm - - - 51 

Hollywood and Kids - - - - 250 

Hollywood, the World's Most 

Maligned City - - - - - 503 

Hollywood, the Producing Centre 27 
Morals of - - - 31 
" My Trip to - - - 49 
Horseflesh and Drama - - - 260 
Ho=w to Attain Health and Per- 
sonality ------- 267 

How to Become a "Heavy" - - 201 

How to Become a Serial Man - 26 

How I Broke Into the Movies - 435 

How to Laugh Well - - - - 427 

Home Life of the Picture People 401 
How to Make Work a Pleasure 330 
How Not to Be a Movie Star 79 
How to Secure a Good Photo- 
graph of Yourself - - - 311 
How Wampas Baby Stars Are 

Chosen ------- 495 

Ignorance a Liability - - - - 169 

Importance of Motion Picture 

Music -------- 467 

In the Tomorrow of Film Pro- 
duction - - - - - - - 356 

In What Does the Art of Acting 

Consist - - 195 

In What Does the Fascination 

Consist - - - ' - - - - 167 

Is Beauty Essential - - - - 221 

Is Bluff Necessary in Pictures - 151 

Is Make-Up an Art - - - - 305 

Is Make-Up Really Needed - - 307 

Is a Dramatic School Helpful 465 
Is a Fine Degree of Health 

Necessary for Pictures - - 273 
Is Dramatic Experience Neces- 
sary -------- 183 



PAGE 

It it the Glamour 53 

Is it Hard to Break Into Pic- 
tures -------- 165 

Is it Difficult to Get Into Pictures 101 
Is it Just a Fancy or a Means 

of Livelihood - - - - - 153 
Is Legitimate Stage Training 

Necessary ------ 187 

Is it Possible to Get Into Motion 

Pictures - -- -- -- 55 

Is the Art of Dancing Essential 

to the Motion Picture - - 227 
Is the Actress' Life a Hard One 113 
Is the Art of Make-Up Difficult 298 
Is the Motion Picture a Means 

of Livelihood - - - - - 133 

Is the Serial Here to Stay - - 265 
Is There a Chance for Every- 
body ------- 119 131 

Is There a Short Cut to Stardom 109 
Is Scenario Writing a Gift or 

Can it be Developed - - - 393 
Is Versatility in a Leading Man 

Necessary ------ 209 



Keeping in Condition 



275 



Legitimate Stage Training Ab- 
solutely Essential - - - - 181 

Logic Advice ------ 271 

Locations, All About - - 319, 507 

Looking Backward and Forward 21 

Make -Up — 

295, 298, 299, 301, 305, 307, 309, 311 

Married People in Pictures - - 407 

Microscopic Motion Pictures - 337 
Motion Pictures — 

Early Pioneers 15 

Statistics, 15, 16, 23, 25, 55, 61, 69 

Censorship ------ 44 

Motion Picture Music - - - - 467 

Movie Bread Line - - - - - 139 

Movies— The Melting Pot - - 473 

Must Drama Have Humor - - 412 

My Idea of Make-Up - - - - 301 

My Most Interesting Experience 147 
My Opinion of the Motion Pic- 
ture -------- 355 



Nature in Film Drama - - - 359 
No Easy Road to Fame on the 

Screen -------- 107 

No Influence Is Necessary - - 450 

Not a Life of Ease - - - - - 133 

Note ---------- 7 



542 



CONTENTS 



PAGE 



Observations of a Lesser Light 

of Filmdom 487 

On Location - - 507 

One Must Love Their Work - - 155 
Opportunity Scenario Writing 

Affords ------- 395 

Originality in Photoplays - - 373 

Our Industry - -- -- -- 35 

Patience an Essential in Motion 

Pictures ------- 149 

Pause Before You Become a Film 

Cutter -------- 343 

People Versus Plot ----- 353 

Personality and Concentration - 125 
Personality and Talent in Photo- 
plays -------- 127 

Pictures as a Profession - - - 1+1 
Pioneers of the Moving Picture 

Industry - -- -- -- 15 

Plea for Progress ----- 285 

Photograph Suitable for Employ- 
ment -------- 311 

Possibilities for the Beginners - 389 

Preface - -- - - -- - 11 

Publicity and Exploitation - 484, 500 

Pugilism in Pictures - - - - 272 

Pull or Ability ------ 59 

Questions and Answers - - - 509 

Radio and Motion Pictures - - 504 

Salaries Paid in the Motion Pic- 
ture Business ----- 293 
Scenario Writing — 

'373, 378, 379, 381, 383 
Screen Make-Up — 



295, 298, 299, 301, 305, 307, 309, 311 

Screen Realism ------ 359 

Screen Service ------ 69 

Screen Tests ----- 317, 335 

Secret of Good Pictures - - - 392 
Selecting an Appropriate Screen 

Name -------- 219 

Serials and Otherwise - - - - 499 

Sex and the Screen ----- 459 

Should a Ccmedy Villain .be Funny - 417 
Should Critics be Caustic or 

Constructive ------ 481 

Should the Villain be an Obvious 

Character - - 205 

Should You Start in as an Extra 119 
Sightseeing in Hollywood - - - 425 
Six Ages of Comedy - - - - 438 
Slow Motion Photography - - 331 
Some Interesting Questions - - 509 
Some Reflections from the Star- 
ship of Jackie Coogan - - 243 
Something About the Camera- 
man - 327 



PAGE 



Stage Training ------ 203 

Stars May be Born, but Must 

be Educated ------ 153 

Statistics - - 15, 17, 55, 61, 69, 509 

Still Photography ----- 329 

Summary - -- -- ___ 514 

Supremacy of American-Made 

Movies ------- 39 

Task of the Scenario Writer - 391 
Technique of the Prizefight Pic- 
tures -------- 364 

Tell Us How to Meet With Suc- 
cess in Pictures ----- 99 

The Art Director - - - - - 320 

The Art of the Motion Picture 462 

The Art of Screen Make-Up - 295 

The Art of Story Telling - - 381 

The Assistant Director - - - 363 
The Branch That Thought it 

Was a Tree ----- 496 

The Cameraman ------ 325 

The Construction of Settings - 321 

The Child Performer -. - - - 237 

The Cowboy in Pictures - - - 353 

The Director ------- 361 

The Feeling of Rapid Success in 

Pictures - -- -- -- 113 

The First Law of Make-Up - - 295 

The Film Editor ------ 340 

The Human Value of Comedy - 413 

The Location Manager - - - 319 
The Manner in Which Danger- 
ous and Thrilling Stunts Are 

Performed in Pictures - - 277 
The Meaning of the Mother in 

Pictures ------- 171 

The Motion Picture Aspirant - 73 
The Motion Picture Business a 

Hard Game ------ 109 

The Movie Bread Line - - - 139 

The Other Side ------ 479 

The Quickest Way of Securing 

Employment in Pictures - - 290 
The Real Meaning of Screen 

Construction - - - - 358 

The Real Meaning of Motion 

Picture Photography - - - 333 

The Title Writer 343 

The Motion Picture Art Is the 

Youngest of the Muses - - 374 
The Padre of Hollywood - - - 103 
The lvalue of the Animal in Pic- 
ture - - - - - - - - - 364 

There Is a Romance in Pictures 451 

Title Writing ------ 345 

To Know Whether You Will be 
Successful in Pictures Before 

Entering the Film Colony - 157 

Too Much Criticism - - - - 458 

Types - - - - 211 



CONTENTS 



543 



PAGE 



Value of Self Control in Pictures 135 

Visitors to Studios ----- 475 

Wardrobe, Department - - - 372 
Wearing Apparel for the Screen 371 
What Are the Essentials of Suc- 
cess ------ - - 163 

What Are the Great Open 

Spaces -------- 261 

What Are the Misconceptions as 

Regards Pictures - - - - 123 

What Are the Qualifications for 

Screen Success ----- 129 

What A re the Six Ages of 

Comedy ------- 438 

What Chance Has the Extra Girl 

in Pictures - - - - - - 93 

What Chance Has the Type in 

Pictures 207 

What Future Has Hollywood as 
a Moving Picture Producing 

Center ------- 19 

What Is an Actor ----- 121 

What Is Characterization - - 199 

What Is the Cowboy in Pictures 261 

What Is Emotion ----- 205 

What Is Expression - - - - 213 

What Is Force in Pictures - - 213 

What Is a "Heavy" Man - - 201 

What Is Hollywood ----- 15 

What Is a Leading Man - - - 207 
What Is the Motion Picture Out- 
look for 1925 ----- 19 

What Is a Screen Test - - - 335 

What Is a Star Ill 

What Is a Stunt Man - - - - 273 

What Is Success ------ 149 

What Is Temperament - - - 213 

What Is a Type ------ 209 

What Is the Value of Athletic 
Sports as a Training for the 

Movies ------- 269 



PAGE 



W hat Is the Value of Character 

Work - - - 197 

What Is the Wampas - - - - 488 

What Is Youth ------ 151 

What Opportunities Are There 
for a Girl Who Is Willing 
to Work to Stardom - - - 85 
What Opportunities Are Afford- 
ed Talented Children for the 
Screen -------- 247 

What Opportunities Are Offered 

the Dancer in Pictures - - 231 

What Percentage of Girls Who 
Come to Hollywood Actually 
Achieve Success - - - - 64 

What Should Be Your Personal 

Qualifications - - - - - 285 

What's Wrong With the Movies 377 

When Opportunity Knocks - - 513 

Who Stands the Better Chance 
in Pictures, the Young Man 
or Young Woman - - - 95 

Why so Difficult to Break Into 

Motion Pictures - - - - 97 

Why Legitimate Actors Fail on 
the Screen While Many Who 
Flave no Training Succeed 189 

Why Motion Pictures Reach 
Greater A rtistic Heights 
Than the Stage - - - - 36 

Would You Advise Starting as 

an Extra - - - - - - - 115 

Youth on the Screen - - - - 117 
Youth in Character Work - - 211 

Ziegfeld Follies a Real Stepping 

Stone to Movie Success - - 233 



105S7 ^3 



NO TE: " The Truth About the Movies ' ' Contains 
no paid-jor publicity or advertising wo hat soever 



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